Customer Reviews

Handel: Tamerlano

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In 1724-25, Handel produced a trio of operatic masterpieces: GIULIO CESARE IN EGITTO, TAMERLANO and RODELINDA, one of the highest peaks in his long theater career. TAMERLANO differs from the other two in that the obligatory "happy ending" is darkened by the suicide of a major character (the Turkish Emperor Bajazet); indeed, the whole piece, which deals with the psychological war between Bajazet and the Tartar Emperor Tamerlane, has a strikingly claustrophobic atmosphere, exemplified by the fact that, unusually for a Handel opera, every scene takes place indoors. Two other features are the frequent use of string-accompanied recitative at moments of high emotional intensity, all superb, and the fact that a major role (Bajazet) was composed for a tenor. Bajazet's death scene, passing flexibly from "dry" to accompanied recitative to arioso, is one of the most emotionally wrenching stretches in all of Handel's output. But the whole score sustains the highest level of inspiration, even more so than its companion operas. It's a beautiful and moving work.
The recording history of TAMERLANO is paradoxical: every one of the 4 previous recordings (beginning with John Moriarty's landmark 1970 version, and proceeding to "period" versions by Malgoire, Gardiner and Pinnck) has its merits and is worth hearing, but all of them fiddle with the musical text, generally by restoring material (some of it admittedly beautiful) that Handel cut before the 1724 premiere, sometimes by reverting to a discarded scheme for the end of Act II/start of Act III, and always making cuts in the lengthy "dry" recitatives (often following Handel's later abridgements). This new recording at last gives us Handel's 1724 text plain and simple, and it proves (no surprise) that Handel knew exactly what he was doing, particularly when he ruthlessly expunged the extraneous numbers towards the end of the opera. The piece feels structurally balanced and dramatically convincing to a far greater degree than ever before in my experience.
Fortunately, this is a terrific performance, a studio recording following a series of stage performances: the best of both worlds. There are no weak links in the cast, and the key role of Bajazet receives a particulary vivid reading from baritone Tassis Christoyannis - yes, baritone, a valid solution to the low-lying tessitura of the role. (In any case, Christoyannis's top register has a definite tenorish tinge, so there is no confusing his voice with that of the fine Leone, Petros Magoulas.) Mezzo Mary-Ellen Nesi is another standout as Andronicus, the Greek prince in love with Bajazet's daughter Asteria. One many prefer this or that singer in one of the roles on another recording, but the level of achievement here is high, and the sense of teamwork very satisfying.
For this, conductor George Petrou deserves great credit, as he does for his leadership of the fine Orchestra of Patras. It's an exciting performance, not the only way to do the piece but an extremely gripping and powerful one. Yes, there is the occasional overly fast tempo, but I found only one - Asteria's last aria in Act II - unfathomably so. David Vickers's notes are informative and clear about the textual issues, and there is a full Italian/English text. This is now top choice for TAMERLANO.

Tamerlano is undeniably one of Handel's great dramatic achievements, an opera I respect very much but for which I harbor little affection. The plot is unrelievedly gloomy - think of Verdi's La Forza del Destino without the local color scenes, Preziosilla or Fra Melitone. The tension between the Tartar Tamerlano and the vanquished Sultan Bajazet is the point of the work, and Handel draws extraordinary portraits of these two powerful characters. Asterias, Bajazet's faithful daughter, is another great creation who goes from semi-comprehension of the situation to would be agent of revenge. Handel's use of traditional da capo aria, accompagnato, and secco recitative pushes the limits of form to great effect. Somehow, though, the "happy ending" after Bajazet's suicide doesn't strike me as terribly effective. There is also a thoroughly unsympathetic character in Irene - an unfeeling woman who sees the action only in the context of how it affects her.

I'm familiar with this recording and the rival period efforts of Gardiner, Malgloire, and Pinnock. I think the MDG under consideration makes the best case for the work. Petrou's conducting creates a very dramatic presentation and the singers are mostly excellent. Falsettist Nicholas Spanos has an occasional odd moment when what I take to be his natural baritone range almost pops out. It does add dramatic emphasis. Christoyannis baritone has a strong upward extension and he does very well indeed with the role, often taken by a tenor. Also outstanding is Mary Ellen Nesi as the Greek general Andronico. The rest of the cast also sings very well. The period instrument orchestra plays well and the recording is clean and well balanced. The recording also restores Handel's 1724 text. I'm not convinced that is a deal maker or breaker in Handel's operas (or oratorios). Second thoughts are sometimes superior to the first. Repeated listening will perhaps tell.

Text aside, what does make this the first choice is the quality of the performance. Gardiner's Erato recording is well executed but the singing has always left me cold. Pinnock's Avie effort (I have both the CDs and the DVD) is well sung and played, but the conducting rarely catches fire. It is better served on CD - skip the DVD's plain Jane staging. Malgloire is ruled out by the irritating scratchings of the period orchestra. So, until Alan Curtis choses to give us Tamerlano (his handling of recitative is extraordinary) this is the best available.

An expert on Handel I am NOT. I write simply as a passionate lover of opera, particularly opera as great drama that strikes to the heart. Tamerlano does that indeed. I went looking for my first recording of a Handel opera in the wake of first hearing about Placido Domingo's assumption of the role of Bajazet in Tamerlano. This recording stood out to me, and now, many hearings later, I am confident of my choice. I hope to hear others someday but this will always be my first love, I'm sure!

Surely this is a great recording of this great opera. The music is gorgeous, aptly expressing everything from deep, bitter fury to aching sadness. Both magnificent and intimate. I especially like Mary-Ellen Nessi as Andronico, her expressive mezzo seems perfect for the unfortunate lover- and the duet (Vivo in te, mio caro bene) with Asteria! Simple, heartfelt, haunting beauty.

But it is the sympathetic Bajazet of Tassis Christoyannis that I find most deeply moving. His voice clearly reveals all the emotions raging in the heart of this proud Sultan, now defeated and trapped between his tender love of his daughter and his pathetic helplessness. My heart can't help but ache with his. I think Christoyannis makes much of this great role. Certainly it is a performance that I count among my most treasured.

Also, I appreciate the loving care that evidently went into the production of this set. There is a fine essay on the origins of the opera and its story plus notes about the differences in this first complete recording of the 1724s version. Then enthusiastic summaries of how they view the main characters. There is info about the artists too, of course. All this in English, French, German. Libretto in Italian, English, German- booklet fitting inside jewel box. Each Act of the opera fits on its own disc with the Appendix at the end consisting of Leone's extra arias. Recorded in 2007, I think. This production presented at Athens Festival in 7/06.

Recommended without reservation, whether you are already into Handel or not!

I agree with all the previous comments that this recording of Tamerlano is the best one, absolutely outstanding and a must to have as it's a complete version of this perhaps the greatest opera by Handel with all those long, beautiful recitatives which are missing or exist in shortened variants in all the other recordings. Also, the quality of the sound itself is remarkable in these German MDG recordings as they are produced in the natural acoustics without using any sound manipulation techniques, e.g. sound filters, which makes the listening experience itself unique and unforgettable. All the singers participating here are great, well chosen and their voices sound wonderful together. But I want to draw special attention to the main character of opera which is called Tamerlano, not e.g. Bajazet or Andronico and to the stunning, unique artist Nicholas Spanos performing it. The main character in baroque operas was sung by a castrato and nowadays the closest substitute to a man's character performed by a castrato is a countertenor.
In brief, George Petrou in his "Thoughts on Tamerlano said: "We tried to create a "noble" Tamerlano. After all Tamerlano is NOT the bad guy in the opera. He is certainly arrogant, spoilt and stubborn. However, although he threatens everybody in the course of the opera (sometimes with graphically detailed threats), he never takes action!... His character should be "lovable..." Also, it should be dramatic enough and as it's a baroque opera it should be sung also very beautifully! So, Nicholas Spanos scuptures his Tamerlano according to the image of this ruthless tyrant and keeps the perfect balance between all these requiments. I just want to make one correction. Spanos isn't a falsettist who uses mainly his high register but a real countertenor singing in a falsetto technique with all three well developped registers: high, middle and low with a strong, very beautifully coloured voice which allows him to express all the spectre of emotions to potray this difficult role with ease. I consider him the finest, most sophisticated countertenor nowadays with the most amazing, smoothest and effortless technique ever. And his work as Tamerlano is absolutely stunning. Being an opera lover for all my life I never heard anything like Nicholas Spanos does with his voice here and also as Filotete in another Handel's complete opera Oreste which is also worth having!
All his 4 arias here - Vuo' dar pace, Dammi pace, Bella Gara and ,of course, A dispetto are the greatest versions I've ever heard! But also his singing in the recitatives is something absolutely extraordinary, which is impossible to describe. One only has to hear it. It's amazing how he uses all the palette of the expressive means according to the situation, especially in the 3d act from a flattering lover to a strong and firm despot in the same recitative when he realizes that he is the one who is being fooled and manipulated instead of being in full control over other people and their feelings as well...
As an artist Nicholas Spanos is also unique not only due to his enchantingly beautiful, lyric, emotional and expressive singing, his divine, marvelously coloured voice with all the human emotions and his great technique which allows his voice to shine, but also because of this signature coloratura - always original, light, the most exquisite one I've every heard!..
I also agree that the booklet itself provides valuable information about the opera and the lyrics in 3 languages. These 2 operas Tamerlano and Oreste where Nicholas Spanos sings are my most valuable musical possessions!

This is the only performance of Tamerlano that I have heard, so I do not have a basis for comparison; I'll modify this review when I do. I enjoyed the performance; like many other Handel operas this one is full of tuneful and dramatic arias. The singing and playing are very good. A minor gripe is that there are several long recitatives. A more significant source of irritation with the box set is the poor quality of the English translation of the Italian libretto - I have not come across one so bad in my life!