As Handel’s first opera based on an adapted Metastasio libretto, Siroe, Re di Persia tells the story of a Persian prince ensnared in courtly intrigue. Ulrich Peters’ 2024 staging at Staatstheater Karlsruhe, revived at this year's International Handel Festival, fully embraces the very core of Metastasian dramaturgy – serious, refined and emotionally complex. Unlike many modern productions that dilute the gravity of opera seria with comic relief, Peters chooses to uphold its integrity, resulting in an evening of pure dramatic and musical intensity, a testament to Handel’s genius and the literary value of Metastasio's libretto.
Christian Floeren’s set design achieves a delicate balance between historical representation and modern abstraction. The production steers away from purely ornamental period icons, instead incorporating a more contemporary, minimalist visual language that enhances the opera’s psychological depth. Scene transitions are executed with remarkable fluidity. At one moment, the audience is immersed in the grandeur of an ancient Persian palace, the next the stage revolves 180 degrees to reveal an industrial, almost abandoned landscape of exposed concrete, particularly effective in complementing the opera’s intensive fast-moving plot. The lighting design by Christoph Pöschko further strengthens the opera’s atmosphere of betrayal and conflict, particularly in the king’s chamber and prison scenes, by employing a predominantly cool palette of deep blues.
Under the baton of Attilio Cremonesi, the Deutsche Händel-Solisten delivered a dramatically superb performance. Drawing from his rich experience as one of Europe’s premier vocal coaches, Cremonesi’s supportive conducting style encouraged the singers to flourish, offering them firm yet flexible musical guidance. He perfectly demonstrated the Baroque technique of stacked intensity contrasts, creating a soundscape rich in layers, fully realising the opera’s dramatic potentials. His harpsichord accompaniment was vibrant and lively, adding rhythmic vitality throughout the performance.
Armin Kolarczyk’s portrayal of Persian King Cosroe was powerful and nuanced. His resonant baritone conveyed both the character's authority and inner turmoil. Cosroe's aria “Gelido, in ogni vena” in Act 3 was memorable, as he mourned with profound regret and remorse, believing it too late to withdraw the order for Siroe's execution. The expressive contrast between his low vocal line and contrapuntal strings successfully transmitted the psychological complexity of a ruler facing his own disastrous mistakes.
As Siroe, Rafał Tomkiewicz’s countertenor captivated with precision and depth, particularly in the sublime prison scene, where his sensitive delivery of the dramatic, almost passion-like “Deggio morire, o stelle” showcased Siroe’s internal turmoil. Later, Tomkiewicz fully embodied the monarch archetype, portraying mercy and compassion despite suffering. This powerful moment aligns with the Enlightenment ideals of justice and magnanimity in Metastasio’s libretto, solidifying Siroe’s transformation into the ideal ruler.
The evening faced an unexpected challenge when Sophie Junker (Emira) was unable to sing due to illness. In her place, Annastina Malm, who had recently performed the role at the Halle Festival, sang from the pit. Despite the brief preparation time, Malm seamlessly coordinated with Junker’s performance on stage. Her vocal contribution was met with enthusiastic support from the conductor, orchestra and audience, highlighting the professionalism and resilience of all involved.
Shira Patchornik, playing Laodice, was excellent in bringing out the psychological dual nature of the character: her seductiveness before the king, her secret desire for Siroe, and her inner conflict sparked by the rebuke from Emira. Her voice was the perfect combination of sweetness and strength, echoing the instability and inner conflict of the character.
A standout moment came from Filippo Mineccia as Medarse, Siroe’s scheming brother. His portrayal of the role’s deceitfulness was chilling, particularly in the scene, where he feigns humility while secretly celebrating his apparent victory. The moment when the king names him heir, accompanied by an explosion of orchestral brilliance, was visually punctuated by real flames igniting his ceremonial prop, a spectacularly theatrical touch that left the audience in awe.
This production justifies the artistic value of this unjustly neglected opera. Had Handel and Metastasio been present, they would likely have found it a worthy interpretation—intensive, profound, and deeply affecting.
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