One could say that the German city of Karlsruhe epitomizes the Baroque style. This assertion is supported not just by the splendid "period" palace nestled within a luxurious park or the multitude of statues adorning the winding pathways but also by the International Händel Festival, established in 1978 and now in its 46th edition, celebrated worldwide-much like the festivals dedicated to the same composer in the cities of Halle and Göttingen. Annually, Karlsruhe welcomes the finest Baroque musicians of the moment, outstanding instrumentalists, and singers acclaimed globally. The stages of BadischesStaatstheater feature opulent performances that harmoniously integrate tradition with modernity. It's interesting to note that Händel never set foot in Karlsruhe, and the festival was founded by a group of music enthusiasts fascinated by the German composer's work, who joined forces to form the Händel Society, an increasingly influential and complex society, which today has over 450 members. Every year, the program presents two lyrical works-a new production and a revival. Therefore, each performance runs for two seasons. Over time, vocal-instrumental recitals of early music and evenings of baroque ballet have significantly diversified the lineup of the festival that spans more than two weeks around the maestro's birthday, February 23rd. Most of the time, performances play to a full house!

I've been attending the Händel Festival in Karlsruhe for several decades. I've discovered a universe of sounds that has captured my heart, especially the enchanting countertenor voice. Every other year, I travel to Karlsruhe and fill my soul and mind with beauty. The pandemic interrupted this tradition-the last time I attended the festival was in 2017. Returning in 2023 for its 46th edition, I was overjoyed to find that it had not changed; everything about the Händel Festival remained as dedicated, ambitious, responsible, and beautiful as ever.

The premiere of Siroe took place on February 12th, 1728, in London. Händel set music to a text by Pietro Metastasio. Like all his operas, the story is complex and tangled, with sudden and unexpected changes in atmosphere to reflect the rapid succession of situations and feelings such as the struggle for power, love, hatred, betrayal, jealousy... The character of Siroe caught the attention of many other famous composers of the time, including Leonardo da Vinci (first opera Siroe 1726, Venice), then Nicola Porpora, Johann Adolph Hasse, Antonio Vivaldi, Baldassare Galuppi, Niccolo Piccini. Synopsis: Siroe, one of King Corsoe's sons, is loved by two women, Emira and Laodice. Despite being the king's acknowledged mistress, Laodice is deeply offended by Siroe's disregard for her affections. The young man, however, sincerely loves Emira. Disguised as a man, she arrives at the court of King Corsoe, whom she tries to kill to avenge her father's death. Siroe becomes embroiled in a tragic conflict because, although he loves Emira, he does not want to participate in the king's assassination and attempts to warn him of the impending plot. Accused of treason and imprisoned for refusing to reveal the identities of the conspirators, Siroe is eventually vindicated when the king discovers the truth, leading to a happy ending where the hero's heart and soul remain sincere and pure.

In an opera with such a conflict-ridden storyline, every moment provides the opportunity for an aria charged with emotion. History also records that, as was his custom, Händel tailored the roles for established and favored singers. The title role was reserved for the famous castrato Senesion-who commands no fewer than five great arias!-while the two female roles were written for two sopranos adored by audiences, Francesca Cuzzoni and Faustina Bordoni. Händel outdid himself in this score, where every page is imbued with genius. The success was monumental, with the premiere followed by 18 more performances. However, the enormous costs overwhelmed the composer, who had to accept that a significant period in his life and career had reached its conclusion. He had to step aside to make way for the Beggar's Opera, conceived by John Gay and Johann Christoph Pepusch, which was a show that brought to the stage characters much more grounded in reality, simple, comedic, devoid of noble concerns, that immediately emerge as formidable challengers to the legendary heroes of the Baroque opera. Siroe would not be performed to the public again during the composer's lifetime and very rarely after his death. Technically, the roles are highly demanding and beyond the capabilities of many performers. The Karlsruhe production enlisted conductor Attilio Cremonesi, who had served as assistant to the renowned Baroque specialist René Jacobs for many years. Cremonesi is known for his passion for lesser-known operas that he has brought back to the stage. Since 2021, he has been the conductor of the orchestra at the Händel Festival in Halle. Now, the maestro stood before the exceptional DEUTSCHE HÄNDEL-SOLISTEN ensemble in Karlsruhe. The role of Siroe was brilliantly performed by Polish countertenor RafałTomkiewicz, and the role of Emira by Belgian soprano Sophie Junker, who convinced us that she fully deserved the prizes of the Händel and Cesti Baroque music competitions in London. The same goes for Israeli soprano Shira Patchornik as Laodice, winner of the Corneille (Rouen) and Cesti competitions in 2021. The second countertenor role, playing Medarse, was given to the Florentine Filippo Mineccia, also an excellent Baroque musician and the role of King Cosroe was entrusted to the Italian baritone Armin Kolarczyk, whose expressive interpretation also left a strong impression.

The direction adheres to the traditional approach of Baroque performance by trying to justify, as much as possible in the contemporary context, the form of the da capo aria through a somewhat convincing variation of the stage movement. Händel's music is so beautiful that one can easily enjoy it even with eyes closed! Nonetheless, the score is one of Baroque musical theatre, and, thus, a revolving stage gracefully and spectacularly transforms the performance space as flames burst merrily from torches or, metaphorically, even from the sword of the hero, who is determined to fight to the end for truth and justice.

Siroe - Rafał Tomkiewicz

Emira - Sophie Junker

Laodice - Shira Patchornik

Medarse - Filippo Mineccia

Cosroe - Kammersänger Armin Kolarczyk

Arasse - Konstantin Ingenpass

The DEUTSCHE HÄNDEL-SOLISTEN Orchestra

Conductor - Attilio Cremonesi

Stage director - Dr. Ulrich Peters

Set and costume designer - Christian Floeren

Lighting designer - Christoph Pöschko