Tamerlano (HWV 18)

Two great rulers stand eye to eye in Handel's opera Tamerlano: the Tartar prince of the same name and Sultan Bajazet. Although “eye to eye” is relative, as Tamerlano has defeated the Turkish Sultan and taken him into custody.

So far, so true: in 1402, the Ottoman army under Bayezid I was indeed defeated by the Turkic Mongol warriors commanded by Tamerlan. The Sultan was subsequently captured and died a few months later. The atrocities of both rulers were legendary and not only satisfied the obscure curiosity of 17th and 18th century Europe about the seemingly exotic foreign powers, but also served to quell the fear of the Ottoman Empire, which had long been regarded as an enemy.

The French master of tragedy, Jean Racine, tried his hand at a dramatic retelling as early as 1672, laying the foundation for the so-called Turkish fashion in European art. But it was Jacques Pradon's tragedy “Tamerlan ou la Mort de Bajazet”, published shortly afterwards, that made the material a success and inspired librettists and composers throughout Europe to create a veritable operatic roundelay.

In 1724, a discerning Handel recognized the potential of the story. And he works his magic. In "Tamerlano", Handel's use of sophisticated recitatives and profound, almost psychoanalytical, highly sensitive arias has been known to captivate audiences. Breathtaking: The through-composed suicide of the proud sultan, which Handel portrays almost in its entirety on stage, is a notable departure from convention. Contrary to common practice of the time in which suicide was typically reported, Handel's Bajazet poisons himself before the audience's eyes, only departing from the stage at the very final moment.

The idea was the brainchild of star tenor Francesco Borosini, who was hired specifically for the role. In Göttingen, the equally talented Spanish tenor Juan Sancho will take on the role of Bajazet. With the countertenors Yuriy Mynenko and Lawrence Zazzo, George Petrou, who will conduct the opera, has invited brilliant Handel interpreters - and thus laid the best foundation for director Rosetta Cucchi, whose innovative productions have conquered the opera scene far beyond her native Italy.