Iphigenia in Aulis

Franco Acquaviva

Valentina Barbarini intersperses the interventions of the two singers with her always vigilant presence, in balance between the need to give voice to the words of the character and a physical language that varies in movements, postures and gestures between the animalistic, the haughty, the sensual, the iconic. Iphigenia's relationship with Agamemnon is then articulated along the central axis of the nave, at the end of which, in addition to seeing the projections of Francesco Pititto flow over the apse, we see a white bunk bed full of blankets: altar, tent, throne, king's bed, from which he imposes his will.

Valeria Ottolenghi

The space is wonderfully divided into situations /actions: on the sides those slabs to be cleaned, in the center the cross / sword with which Iphigenia herself will kill herself, around the neck that flower of fabric already soaked in blood (everything repeats itself eternally, not only in the theater?), behind a raised bed of everyday life, above, at the bottom, deformed images that tend to rotate and return.

Enrico Piergiacomi

Lenz polyphigenia between Euripides and Gluck

The Iphigenia in Aulis by Lenz Foundation thinks, instead, that the essence of the myth in question lies in the middle: in a sort of dash that lies between “horror” and “beauty”. Iphigenia is neither just a girl who died prematurely, nor just a woman who becomes immortal by giving her life as a gift to the community. She is not in herself the winner or victim. Iphigenia is both together at the same time [...] There is no single Iphigenia in the Lenz show Foundation, but many Iphigenias in a single character. She is a polyphony, or rather a woman or a young girl who embodies multiple female voices that react to life's atrocities. Iphigenia is a polyphony: one “Polyphigenia”.