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The Versailles production is a masterclass in how historically-informed stagings can succeed
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Porpora’s Polifemo at Versailles (Photo: Ian Rice)
In early September this year, Bayreuth Baroque presented Porpora’s Ipfigenia in Aulide. Fittingly, the forces there, Les Talens Lyriques/Rousset, in their soundtrack to the film Farinelli, previously highlighted Porpora with an aria from Polifemo: ‘Alto Giove’.
Published by John Walsh in London in 1735, Polifemo’s libretto is by Paolo Rolli. At the centre is the cyclops Polifemo, and two related stories, from Ovid and Homer, converge: the death of Acis, and Polifemo’s blinding by Ulysses. When it was premiered in London, the cast included two superstars of the castrato world: Farinelli (Aci) and Senesino (Ulisse).
The Versailles production is a masterclass in how historically-informed stagings can succeed. Set in the shadow of Etna, Justin Way’s vision created an ancient world supported by Christian Lacroix’s costumes, Roland Fontaine’s sets, and Stéphane Le Bel’s imaginative lighting. Polifemo’s costume was interesting, a model head above the singer’s, so José Coca Loza sang from Polifemo’s chest – the heart chakra, reminding us perhaps that here is a creature with feelings, too.
Baroque dance in Porpora’s Polifemo (Photo: Ian Rice)
An important aspect of Versailles’ Polifemo was Baroque dance, which enlivened the ritornellos bookending arias, and which was conceived by Pierre-François Dollé and superbly delivered (movements timed to the microsecond) by the Académie de danse baroque de l’Opéra-Royal .Way’s atmospheric set housed Porpora’s opera of magic, adventure and bucolic pastoral; a mix Way sees as analogous to Shakespeare’s Tempest.
Porpora’s opera itself is far more than a one-hit wonder. The writing is consistently fresh, and conductor (and violinist) Stefan Plewniak, previously encountered at Versailles in Zingarelli’s Romeo e Giulietta, certainly ensured that aspect. His dynamic style looks flamboyant, but closer inspection reveals parallels to Bernstein: underneath the exuberance lies a firm technique. Most importantly, he created a soundworld that was all Porpora: listening to George Petrou’s recording of Polifemo, Porpora can seem imitation Handel. Gesturally, too, Plewniak was impressive, particularly evident in the orchestral Affekts of Aci’s ‘Sento il fato’.
Polifemo at Versailles (Photo: Ian Rice)
Casting was generally strong. Talk of Bayreuth Baroque reminds us that Julia Lezhneva performed Galatée there in 2021. She was superb throughout, fully inside the role, while careful casting meant voices worked superbly together: Lezhneva’s duets with mezzo Éléonore Pancrazi’s Calypso (‘Ah! Sento d’amore’) offered an early highlight; it seems wrong to focus on one example of Lezhneva’s art, but perhaps ‘Smanie d’affano,’ infinitely touching, suits. Pancrazi, incidentally, sang the titular role in Destouches’ Sémiramis for Chateau de Verseailels Spéctacles.
Polifemo was sonorously taken by Zürich-based Brazilian bass Coca Loza, who had mobility of voice (against the Versailles orchestra’s fizzing accents in ‘M’accendi in sen con guardon’), lyricism (for the final act ‘Fugace Galatea,’ garlanded by some superb woodwind playing) and force of passion (his final ‘Rimpoveri crudel!’).
Which leaves the two counter-tenors, and two contrasted voices: Paul-Antoine Bénos-Djian’s creamy Ulysse was a dream, on top form throughout; sadly, Franco Fagioli’s more piercing Aci took substantial time to settle, only gaining focus and expressive weight in the opera’s later stages (achieved, though, in ‘Alto Giove’ ).
Polifemo offers another clear pointer to Porpora’s status; a CD/video release is very much hoped for.
