Festival Theatre, Malvern – 22nd October 2022
Reviewed by Courie Amado Juneau
5*****
Tamerlano (1724) is an opera (very) seria in three acts by Handel.
The Ottoman Emporer Bajazet is held prisoner at the court of Tamerlano, who has fallen in love with Bajazet’s daughter Asteria. He offers Andronico (who loves Asteria) marriage to Irene (who was formerly to marry Tamerlano before he switched his affections) the Greek throne and freedom for Bajazet. No-one is happy with this and the percieved betrayals of all kinds cause much soul searching and scheming… As you can tell from my convoluted attempt to explain the opening scene, those Baroque composers liked twisty plots!
I was glad I attended the extremely interesting pre-talk from conductor Jonathan Peter Kenny which included much background to the piece as well as signposting some fascinating technical details such as Baroque tuning.
From the outset you could tell this is an intense work – set entirely in prison where we open in the dark to Bajazet in a cage. The set is a nightmare industrial vision; bare metal, stark and humourless – apart from a curtain at the back which is lit with different colours evoking particular moods which enhance the action. A really effective use of colour from Lighting Designer Tim van‘t Hof.
The small (but perfectly formed) cast had a range which was impressive as were their vocal gymnastics, especially the ornamentation of the vocal lines (I learnt that in the pre-talk you know). The aria at the end of act 1 from Andronico (Greek Prince, James Hall), in which he plumbed the depths and scaled the heights of his vocal range in rapid succession, was extraordinary and the first of many emotional highlights, very much standing out for me.
Bajazet (Jorge Navarro Colorado) and Asteria (Ellie Laugharne) had some truly heart wrenching scenes together which both singers conveyed with acting of commendable (at times uncomfortable) realism. Rodrigo Sosa Dal Pozzo (Tamerlano) gave us a very hissable villain and April Koyejo-Audiger (Irene) rounded out this cast which shone brightly in this stellar work.
The music tripped along with a gleeful inevitability that only a musical genius could produce. I was keeping my ears out for the pre-show talk mentioned moments like the flutes and recorders quartet – which were indeed as glorious as promised!
The opera concludes with the chorus (at least those left standing) singing of love’s ability to save light from darkness. Heady stuff that brought the work to a satisfying conclusion – especially given this was the only time we had an ensemble of singers singing in a combination larger than a duet. Finishing very much on a high.
Tamerlano is one of Handel’s acknowledged masterpieces and it sure packs a punch. It’s a rollercoaster ride for the emotions. For the curtain call at finale the conductor looked absolutely shattered and I sympathise as I felt drained too (in the nicest possible way). Another triumph from English Touring Opera; a company I urge you to seek out at every possible opportunity. I know I already eagerly awaiting their return. Bravi a tutti