'Tamerlano' is to me among Handel's better operas, the story is compelling and has a nice intimate atmosphere and there are interesting characters and music that is not just beautiful but perfectly fitting.
Like Pierre Audi's 2015 'Alcina' production, his 'Tamerlano' is on the most part impressive on the musical front (though not as consistent on this front as 'Alcina) but is visually unappealing and too much of the staging was not to my taste. Not one of the better productions of the opera around, with the Monica Bacelli/Placido Domingo and Bacelli/Thomas Randle performances being superior and being more to "traditionalists" liking. Have nothing against non-traditional productions, far from it, but it just depends on how it's executed.
Visually, apart from instances of atmospheric lighting and more attractive costumes than most "concept" productions, the production really isn't appealing. It's too sparsely furnished, too often too dark, stark and cold and is too one-note with no scenic changes (though as it's often one-set in the story anyway it's not as crucial as in 'Alcina').
Audi's staging has moments where it is restrained but dramatically effective and Handel's construction of drama is at times clear. However, there are far too many touches that not only contradict the libretto/narrative but also badly confuses things to sometimes incomprehensibility. Some of it proves to be an obstacle for the singers and the slow stylised movements and sometimes distracting stage business added nothing. Too much of the text is bowdlerised and makes the singers seem oblivious to the drama and the meaning of the text, two big no nos in opera.
Musically, however, the production is much better news. The only disappointments are the rather clanging continuo and Jeremy Ovendon really not in the best of voice with a very shouty top register and laboured ornamentation especially.
Orchestra are lively and nuanced, and Christophe Rousset's conducting is sympathetic and carefully pointed but also buoyant and energetically passionate quality, giving the music depth and space but also a rhythmic drive.
The production's two best performances are Ann Hallenberg and Christophe Dumaux. Hallenberg's singing is rich in tone and stylishly used, while she dominates the action whenever she appears. Dumaux occasionally takes the oppressiveness too far but is a highly gifted actor and his singing is remarkably agile.
Despite disappointing vocally, Ovendon's acting has an intensity and poignancy. Sophie Karthäuser similarly is a moving Asteria with a beautiful gleam to her voice and wide range of dynamics. Delphine Galou sings excellently but is slightly bland dramatically.
All in all, problematic but worth the watch if more musically than visually. 6/10 Bethany Cox
Like Pierre Audi's 2015 'Alcina' production, his 'Tamerlano' is on the most part impressive on the musical front (though not as consistent on this front as 'Alcina) but is visually unappealing and too much of the staging was not to my taste. Not one of the better productions of the opera around, with the Monica Bacelli/Placido Domingo and Bacelli/Thomas Randle performances being superior and being more to "traditionalists" liking. Have nothing against non-traditional productions, far from it, but it just depends on how it's executed.
Visually, apart from instances of atmospheric lighting and more attractive costumes than most "concept" productions, the production really isn't appealing. It's too sparsely furnished, too often too dark, stark and cold and is too one-note with no scenic changes (though as it's often one-set in the story anyway it's not as crucial as in 'Alcina').
Audi's staging has moments where it is restrained but dramatically effective and Handel's construction of drama is at times clear. However, there are far too many touches that not only contradict the libretto/narrative but also badly confuses things to sometimes incomprehensibility. Some of it proves to be an obstacle for the singers and the slow stylised movements and sometimes distracting stage business added nothing. Too much of the text is bowdlerised and makes the singers seem oblivious to the drama and the meaning of the text, two big no nos in opera.
Musically, however, the production is much better news. The only disappointments are the rather clanging continuo and Jeremy Ovendon really not in the best of voice with a very shouty top register and laboured ornamentation especially.
Orchestra are lively and nuanced, and Christophe Rousset's conducting is sympathetic and carefully pointed but also buoyant and energetically passionate quality, giving the music depth and space but also a rhythmic drive.
The production's two best performances are Ann Hallenberg and Christophe Dumaux. Hallenberg's singing is rich in tone and stylishly used, while she dominates the action whenever she appears. Dumaux occasionally takes the oppressiveness too far but is a highly gifted actor and his singing is remarkably agile.
Despite disappointing vocally, Ovendon's acting has an intensity and poignancy. Sophie Karthäuser similarly is a moving Asteria with a beautiful gleam to her voice and wide range of dynamics. Delphine Galou sings excellently but is slightly bland dramatically.
All in all, problematic but worth the watch if more musically than visually. 6/10 Bethany Cox
