| 1 | Sinfonia | A. Scarlatti / Anonymous | Endimione e Cintia (1705) |
| Allegro, 4/4 – Largo e sostenuto, 4/4 – [Andante], 3/8 | D minor |
| 2 | Aria ‘Sento un’ aura che dolce respira’ (Diana) | ibid. | ibid. | Diana beholds the landscape of Aulis and catches a glimpse of sleeping Agamemnon. | Largo e piano – Allegro non presto – Largo e piano, 4/4 | D minor |
| 3 | Recitative ‘Ma più soffrir non posso’ (Diana) | ibid. | ibid. | Frustrated because of the King’s peacefulness and her inner turmoil, Diana awakens Agamemnon. |
| B-flat major ~A minor (V) |
| 4a | Accompagnato ‘Alta Diva, che sei Cintia nel cielo’ (Agamennone, Oracolo I & II) | C. H. Graun / Frederick II, Villati | Ifigenia in Aulide (1748) | Agamemnon jolts awake. He recalls the situation in which he and his men have found themselves: the Greek ships have been detained in Aulis on their way to Troy. He implores Diana to bring new wind to their sails. | [senza tempo], 4/4 | D major ~ C minor (V) |
| 4b | Arietta ‘Qual oracol tremendo’ (Agamennone) | ibid. | ibid. | Out of nowhere, an oracular voice resounds, making Diana’s will known: Agamemnon must sacrifice his daughter Iphigenia for having provoked her wrath. | Allegro, 4/4 | C minor ~ F minor |
| 5 | Recitative ‘Signor di questa vita’ (Clitennestra, Agamennone, Ifigenia) | ibid. | ibid. | Clytemnestra appears with Iphigenia. Neither of the two is aware that anything is wrong, but the King has a hard time hiding his unease, especially when Iphigenia comes up with a ‘good idea’: to make a sacrifice. |
| B minor ~ F major |
| 6 | Aria ‘Di questo core’ (Agamennone) | Caldara / Zeno | Ifigenia in Aulide (1718) |
| Non tanto presto, 2/4 | B-flat major |
| 7 | Recitative ‘Misera me!’ (Ifigenia) | Jommelli / Anonymous | L’Ifigenìa (1751) | Perturbed by her father’s sad mood, Iphigenia has a dark premonition. |
| C major ~ A minor |
| 8 | Aria ‘Ritrovo in quei detti’ (Ifigenia) | Conti / Metastasio | L’Issipile (1732) |
| [senza tempo], 3/4 | A minor |
| 9 | Recitative ‘Il crudo uffizio’ (Ulisse, Clitennestra) | Caldara / Zeno | Ifigenia in Aulide (1718) | Odysseus arrives and reveals the oracle’s message, which tears Clytemnestra apart. |
| A minor ~ F major |
| 10 | Aria ‘Prendi quel ferro’ (Clitennestra) | Leo / Salvi | Andromaca (1742) |
| Risoluto, 4/4 / Largo, 3/8 | B-flat major / minor |
| 11a | Recitativo ‘È questo il loco del mio supplizio?’ (Oreste) | Jommelli / Verazi | Ifigenia in Tauride (1771) | Iphigenia’s brother Orestes appears on the stage. The news of the sacrifice has so upset him that he has become delusional and offers himself as a sacrifice. |
| B-flat major |
| 11b | Scena ‘Per pietà’ (Oreste) | ibid. | ibid. |
| Andantino, 6/8 | B-flat major |
| 11c | Accompagnato ‘Grazie ai numi, parti’ (Oreste) | ibid. | ibid. |
| [senza tempo] – Larghetto – Andante – Allegro – Un poco andante – Con spirito, 4/4 | C major ~ G minor |
| 11d | Aria ‘Tardi rimorsi / Odo il suon’ (Oreste) | ibid. | ibid. |
| Allegro, 4/4 / Andantino, 6/8 | G minor ~ E-flat major (V) |
| 11e | Accompagnato ‘Ah madre!’ (Oreste) | ibid. | ibid. |
| Con spirito, 4/4 | C minor ~ G minor (V) |
| 11f | Aria ‘Tardi rimorsi’ (Oreste) | ibid. | ibid. |
| Tempo di prima [Allegro], 4/4 | G minor |
| 12a | Marcia | Jommelli / Anonymous | L’Ifigenìa (1751) | A mournful procession appears. Iphigenia is wearing sacrificial robes. | Larghetto, 2/2 | E-flat major |
| 12b | Accompagnato ‘Ahi padre…’ (Ifigenia) | ibid. | ibid. | Iphigenia resigns herself to her fate and, as befits a Greek princess, faces death with her head held high. Achilles appears and embraces his beloved one last time. | Larghetto – Andante – Larghetto – Allegro (alternated three times) – Con spirito, 4/4 | E-flat major ~ B-flat major |
| 12c | Aria ‘Pria, che nell’ore estreme’ (Ifigenia) | ibid. | ibid. | Iphigenia’s grand farewell. | Larghetto, 4/4 | E-flat major |
