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Editorial Reviews
MusicWeb International, Robert McKechnie, May 2009
If Handel's two other great operas, Giulio Cesare and Rodelinda, are well known then this third of the trio of `greats' should certainly join them. This production will do much to underline that.
For some years now the phrase `director's opera' has had a pejorative ring - sometimes with justification. This production has Graham Vick written all over it. Further, the music director James McCreesh concedes that that extends to choice of versions of scenes. "What do you mean, `choice of versions of scenes'? An opera is an opera is an opera." Sorry but it is not: that is what we have come to expect today but Handel and very many composers re-wrote scenes or omitted, added or replaced arias according to the ability of the available singers. And Tamerlano is no exception. No, I do not intend to bore you with a detailed analysis. One example will suffice: death or coronation in the last scene? Well, here you get both.
What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano's Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria's two failed attempts on Tamerlano's life and then Bajazet's suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is `dark' opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel's operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.
In Handel's day productions were virtually static: singers stood and delivered and then frequently left the stage to applause hence, called, the exit aria. Curiously McCreesh describes this production as "quite still". Maybe: in comparison with other operatic productions. However, for me, Vick instils this one with wholly appropriate body and facial movement. I cannot pretend that I understand all of the symbolism, particularly of the silent `groupies' who accompany some of the singing: and just occasionally distract attention from it - an example is during the only aria given to Leone - Tamerlano's henchman. That aside, the acting here is first class, capturing Tamerlano's almost demonic personality, Badajet's decline and his reciprocated love for Asteria and also Andronico's constancy.
We expect no less. This is Monica Bacelli, the proven exciting Handelian in the title trouser role and the `imported' Plácido Domingo as Badajet; `imported' because this is his first Handel part in over a hundred roles and it is perfectly suited for him: a truly dramatic tenor.
Bacelli is in excellent form displaying a neurotic vibrancy through very expressive movements. This is not `stand and deliver' and nor is it a general-distraction cavort about the stage: but it is movement to encompass the stage and engage the audience in her characterful playing. Yes, and she sings too. Whilst her smaller voice contrasts with Domingo's power she never loses her strong focus or line and elegant phrasing. Not a pitch out of place, not a run slurred; most arias at a faster pace with opportunity for colouring and strong tones that she never misses.
Domingo is equally splendid portraying the beaten leader. Dramatic singing throughout. If I have a slight hesitation it would be about vocal flexibility in the quicker aria Ciel e terra (disc 1 track 15) - hardly surprising in a singer of his years which generally show no sign of catching up with him. But here I am being `nit-picky'. His is vocal drama which makes us empathize with a fallen leader of the Ottoman Empire and renders understandable the taking of his own life. That is no mean feat when his beloved daughter Asteria still lives. Domingo gives a master class in diction, dynamics and phrasing. His final aria is magnificently delivered as he leaves the stage backwards into the darkness.
The Swedish soprano Ingela Bohlin effortlessly despatches the role of Asteria, or so she makes it appear. This high-lying soprano role does not trouble her. In her splendid aria Cor di padre (disc 2 track 24) at the end of Act 2 she vocally wanders about at the top of and above the stave, occasionally leaping there with total accuracy. In her aria Se non mi vuol amor (disc 1 track 13) she leaves high notes just hanging exquisitely in the air. She has a very secure vibrato - and that is not an oxymoron - and a gentle trill which adds much to aria meaning and audience enjoyment.
Sara Mingardo is a true contralto but noticeably of smaller voice. Bearing in mind how responsive McCreesh is with the orchestra for the forte and piano of the roles for Bacelli and Domingo, it is disappointing that he does not at all times afford Mingardo that same facility/kindness/support. Mingardo has wonderful vocal flexibility with quite remarkable beauty of tone. No applause for her act 1 aria Bella Asteria (disc 1 track9) which I would have expected to lead to sustained applause. Her timbre balances extremely well with both Bacelli and Bohlin to produce some delightful sounds.
Jennifer Holloway, as Irene arrives on stage aloft by some three metres on a gorgeous blue elephant on wheels. Could it be that the slightly irregular jumbo traverse of the stage contributes to her occasional lack of smoothness and steadiness of note in her opening aria? Certainly when back on stage terra firma her smooth clarity of note returns and when singing piano there is great beauty of tone.
De Donato, as Leone, is afforded one aria. Here it is the act 2 Amor dà guerra (disc 2 track 10) as opposed to the act 3 option of Nel mondo e nell' abisso. Apart from a slight hint of effort when on serious high he sings clearly with a firm line. His problem, or rather our problem, is to concentrate on him while three pairs of `supporters' perform a variety of symbolic mimes. Despite watching it several times I remain convinced that I do not fully understand all the symbolism.
That applies also to movements that take place on the balcony which goes around the semi-circular stage where the `groupies' perform various mimes in slow motion around it or small blue elephants move equally slowly. That leaves a bare stage over which hangs the celebrated foot on the globe (no prizes for guessing that piece of symbolism) variously pushed up by Badajet or crushing him or Asteria. It also ascends and descends almost imperceptibly as appropriate to the stage action. In act 2 in what is almost a coup de théâtre it revolves through 180° to reveal its hollow back with gold lining and a seat that becomes Tamerlano's throne.
The only stage prop which doesn't seem to me to be particularly effective is the long bench protruding from the back stage in the first part of act 3 which serves at Tamerlano's throne. Otherwise, the stage effects together with the matching half moons near stage front that move together to form another circle and become a prop in their own right, are spectacularly effective.
Colours are also fundamental. The stage is white, the costumes black and/or white except for the splendid Act 2 vivid lime green for Tamerlano and later a brilliant cerise. Irene has similarly strongly coloured costume when on her elephant. As you can see above Badajet and daughter are in white and remain so throughout. Symbolism in colours? I think so.
All that said there is a fault: but not with the production. It is the subtitles: too frequently the translation leaves a great deal to be desired. It is not idiomatic; indeed occasionally it is archaic if not arcane. Rely on them and from time to time you might struggle to follow the plot. Any such problem is overcome by the synopsis - one of the extra features. There is also a helpful commentary in the accompanying booklet.
The final points must be alternative productions and cost. The only alternative DVD that I have found is the recording of the production at the 2001 Handel Festival at Halle (Arthaus Musik 100702). The title role is again taken by Monica Bacelli. Thomas Randle, of distinctive timbre, is Badajet but to my mind is not in Domingo's class for vocal or dramatic acting. If you prefer a counter-tenor for Andronico then here is Graham Pushee in fervent form. Irene is the creamy smooth engaging mezzo of Anna Bonitatibus. Elizabeth Norberg-Shulz and Antonio Abete complete the cast. Jonathan Miller is the director for Halle production and relies primarily on vocal display to captivate the audience. This is indeed a more static performance in seriously colourful Eastern costumes but without the costume contrasts, stage movement and drama of the Vick/McCreesh production.
There are several additional points to note about the Halle production. First and surprisingly the singers are `miked'. Second there are numerous extras including interviews with noted Handelians and some interesting historical film footage. In addition it offers as a special feature "Score plus: read the score as subtitle". When elected the performance fades and continues in the background with the score superimposed over it: novel and seriously expanding the opportunities for enjoyment.
On the internet I found that this Vick/McCreesh production is a fiver dearer than the Halle production and at a best price of around £24 it is not cheap - but for me it is worth every penny or euro for this sensitively filmed three disc set with one act on each.
For some years now the phrase `director's opera' has had a pejorative ring - sometimes with justification. This production has Graham Vick written all over it. Further, the music director James McCreesh concedes that that extends to choice of versions of scenes. "What do you mean, `choice of versions of scenes'? An opera is an opera is an opera." Sorry but it is not: that is what we have come to expect today but Handel and very many composers re-wrote scenes or omitted, added or replaced arias according to the ability of the available singers. And Tamerlano is no exception. No, I do not intend to bore you with a detailed analysis. One example will suffice: death or coronation in the last scene? Well, here you get both.
What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano's Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria's two failed attempts on Tamerlano's life and then Bajazet's suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is `dark' opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel's operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.
In Handel's day productions were virtually static: singers stood and delivered and then frequently left the stage to applause hence, called, the exit aria. Curiously McCreesh describes this production as "quite still". Maybe: in comparison with other operatic productions. However, for me, Vick instils this one with wholly appropriate body and facial movement. I cannot pretend that I understand all of the symbolism, particularly of the silent `groupies' who accompany some of the singing: and just occasionally distract attention from it - an example is during the only aria given to Leone - Tamerlano's henchman. That aside, the acting here is first class, capturing Tamerlano's almost demonic personality, Badajet's decline and his reciprocated love for Asteria and also Andronico's constancy.
We expect no less. This is Monica Bacelli, the proven exciting Handelian in the title trouser role and the `imported' Plácido Domingo as Badajet; `imported' because this is his first Handel part in over a hundred roles and it is perfectly suited for him: a truly dramatic tenor.
Bacelli is in excellent form displaying a neurotic vibrancy through very expressive movements. This is not `stand and deliver' and nor is it a general-distraction cavort about the stage: but it is movement to encompass the stage and engage the audience in her characterful playing. Yes, and she sings too. Whilst her smaller voice contrasts with Domingo's power she never loses her strong focus or line and elegant phrasing. Not a pitch out of place, not a run slurred; most arias at a faster pace with opportunity for colouring and strong tones that she never misses.
Domingo is equally splendid portraying the beaten leader. Dramatic singing throughout. If I have a slight hesitation it would be about vocal flexibility in the quicker aria Ciel e terra (disc 1 track 15) - hardly surprising in a singer of his years which generally show no sign of catching up with him. But here I am being `nit-picky'. His is vocal drama which makes us empathize with a fallen leader of the Ottoman Empire and renders understandable the taking of his own life. That is no mean feat when his beloved daughter Asteria still lives. Domingo gives a master class in diction, dynamics and phrasing. His final aria is magnificently delivered as he leaves the stage backwards into the darkness.
The Swedish soprano Ingela Bohlin effortlessly despatches the role of Asteria, or so she makes it appear. This high-lying soprano role does not trouble her. In her splendid aria Cor di padre (disc 2 track 24) at the end of Act 2 she vocally wanders about at the top of and above the stave, occasionally leaping there with total accuracy. In her aria Se non mi vuol amor (disc 1 track 13) she leaves high notes just hanging exquisitely in the air. She has a very secure vibrato - and that is not an oxymoron - and a gentle trill which adds much to aria meaning and audience enjoyment.
Sara Mingardo is a true contralto but noticeably of smaller voice. Bearing in mind how responsive McCreesh is with the orchestra for the forte and piano of the roles for Bacelli and Domingo, it is disappointing that he does not at all times afford Mingardo that same facility/kindness/support. Mingardo has wonderful vocal flexibility with quite remarkable beauty of tone. No applause for her act 1 aria Bella Asteria (disc 1 track9) which I would have expected to lead to sustained applause. Her timbre balances extremely well with both Bacelli and Bohlin to produce some delightful sounds.
Jennifer Holloway, as Irene arrives on stage aloft by some three metres on a gorgeous blue elephant on wheels. Could it be that the slightly irregular jumbo traverse of the stage contributes to her occasional lack of smoothness and steadiness of note in her opening aria? Certainly when back on stage terra firma her smooth clarity of note returns and when singing piano there is great beauty of tone.
De Donato, as Leone, is afforded one aria. Here it is the act 2 Amor dà guerra (disc 2 track 10) as opposed to the act 3 option of Nel mondo e nell' abisso. Apart from a slight hint of effort when on serious high he sings clearly with a firm line. His problem, or rather our problem, is to concentrate on him while three pairs of `supporters' perform a variety of symbolic mimes. Despite watching it several times I remain convinced that I do not fully understand all the symbolism.
That applies also to movements that take place on the balcony which goes around the semi-circular stage where the `groupies' perform various mimes in slow motion around it or small blue elephants move equally slowly. That leaves a bare stage over which hangs the celebrated foot on the globe (no prizes for guessing that piece of symbolism) variously pushed up by Badajet or crushing him or Asteria. It also ascends and descends almost imperceptibly as appropriate to the stage action. In act 2 in what is almost a coup de théâtre it revolves through 180° to reveal its hollow back with gold lining and a seat that becomes Tamerlano's throne.
The only stage prop which doesn't seem to me to be particularly effective is the long bench protruding from the back stage in the first part of act 3 which serves at Tamerlano's throne. Otherwise, the stage effects together with the matching half moons near stage front that move together to form another circle and become a prop in their own right, are spectacularly effective.
Colours are also fundamental. The stage is white, the costumes black and/or white except for the splendid Act 2 vivid lime green for Tamerlano and later a brilliant cerise. Irene has similarly strongly coloured costume when on her elephant. As you can see above Badajet and daughter are in white and remain so throughout. Symbolism in colours? I think so.
All that said there is a fault: but not with the production. It is the subtitles: too frequently the translation leaves a great deal to be desired. It is not idiomatic; indeed occasionally it is archaic if not arcane. Rely on them and from time to time you might struggle to follow the plot. Any such problem is overcome by the synopsis - one of the extra features. There is also a helpful commentary in the accompanying booklet.
The final points must be alternative productions and cost. The only alternative DVD that I have found is the recording of the production at the 2001 Handel Festival at Halle (Arthaus Musik 100702). The title role is again taken by Monica Bacelli. Thomas Randle, of distinctive timbre, is Badajet but to my mind is not in Domingo's class for vocal or dramatic acting. If you prefer a counter-tenor for Andronico then here is Graham Pushee in fervent form. Irene is the creamy smooth engaging mezzo of Anna Bonitatibus. Elizabeth Norberg-Shulz and Antonio Abete complete the cast. Jonathan Miller is the director for Halle production and relies primarily on vocal display to captivate the audience. This is indeed a more static performance in seriously colourful Eastern costumes but without the costume contrasts, stage movement and drama of the Vick/McCreesh production.
There are several additional points to note about the Halle production. First and surprisingly the singers are `miked'. Second there are numerous extras including interviews with noted Handelians and some interesting historical film footage. In addition it offers as a special feature "Score plus: read the score as subtitle". When elected the performance fades and continues in the background with the score superimposed over it: novel and seriously expanding the opportunities for enjoyment.
On the internet I found that this Vick/McCreesh production is a fiver dearer than the Halle production and at a best price of around £24 it is not cheap - but for me it is worth every penny or euro for this sensitively filmed three disc set with one act on each.
Product Description
HANDEL:TAMERLANO - DVD Movie
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Most Helpful Customer Reviews
24 of 27 people found the following review helpful:
5.0 out of 5 stars
Handel's Tamerlano from Madrid,
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This review is from: Tamerlano (DVD)
Tamerlano is considered as one of Handel's greatest operatic masterpieces. He wrote this opera in the space of twenty days, in July 1724. This was a very productive year for Handel's operas: Gulio Cesare and Rodelinda were written in 1724 too, all three great operas to a libretto by Italian poet Nicola Francesco Haym.Tamerlano had been recorded a few times. The best CD recording for my taste is the last: A MDG recording that is conducted by George Petru. On the Arthaus label there is a DVD version from the Handel Festival at Halle 2001. The conductor is Trevor Pinnock and stage director is Jonathan Miller. Musically this is an excellent performance, led by Italian mezzo-soprano Monica Bacelli as Tamerlano. But as a stage experience this performance is quite boring, with the singers standing on a small bare stage and singing long dacapo arias almost with no movements. This month, Opus Arte released a new DVD version for Tamerlano. This is a 2008 production from Teatro Real in Madrid. Stage director is Graham Vick. The stage here is much more interesting, although it almost doesn't change during the opera. It has big white walls in the shape of a semicircle with a number of doors. Stage design is quite minimal but effective and always very esthetic and pleasant to the eye. But the main difference between the directors is in the singer's guidance. With Miller you get `stand and deliver', almost no interaction between the singers. In Madrid Graham Vick achieved totally other results: all the singers are acting effectively and impressively. The Orchestra of Teatro Real is playing on modern instruments and is conducted by Paul McCreesh. He definitely knows how to conduct Handel, but I usually prefer HIP instruments in this music. There are a few "authentic" additions to the orchestra in particular in the wind department, flutes, recorders and old stringed instruments like a theorbo. With respect to the singers - a very special feature of this production is the participation of Placido Domingo. In the age of 68 Domingo does not cease to surprise and he is singing for the first time in a Baroque opera the role of the Turkish sultan Bajazet, one of the greatest roles Handel created for a tenor. The voice is relatively big and not flexible enough to be an ideal Baroque singer. But although the singing is technically not perfect, it is very impressive first of all on account of the phenomenon - a singer in the age 68 able to sing so, but in addition to this, Domingo, a really great artist brings his rich theatrical experience to portray very convincingly the suffering of the tormented ruler that fights in captivity for his daughter happiness. Luckily, the role is not very difficult... The leading role - Tamerlano - is sung again by Italian mezzo-soprano Monica Bacelli. She is excellent both in singing (especially in her act III aria) and acting, portraying amusingly the Tartar ruler as an extrovert and capricious man. The role of Androniko, the Greek prince in love with Bajazet's daughter Asteria is sung by Italian contralto Sara Mingardo. She is excellent. Asteria, Bajazet's daughter is sung by Swedish soprano Ingela Bohlin. She is outstanding. She is a very beautiful woman, with a lovely and angelic voice, and excellent technique. The other two minor roles are more than adequately taken by American soprano Jennifer Holloway as Irene and baritone Luigi di Donato as Leone. To sum up: Highly recommended for all lovers of Baroque operas. This is a worthy performance for one of Handel's greatest creations.
7 of 8 people found the following review helpful:
5.0 out of 5 stars
Great Tamerlano,
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Amazon Verified Purchase(What's this?)
This review is from: Tamerlano (DVD)
Just wanted to get my two cents in here since there is only one review so far. This is a very good dvd of Tamerlano, and I think it is much more interesting than the Pinnock dvd. The production is typical Graham Vick, which is to say: stylish, thoughtful, a little unconventional but still very true to the work. He contributes some new ideas here and there, but in a respectful way. The costumes vaguely suggest 18th c. ideas of turquerie, but are schematic and exaggerated in some cases, with sober white costumes setting Bajazet and his daughter apart from the rest of the characters. Tamerlano himself (Monica Bacelli) is a sort of flamboyant, Liberace-type character with very colorful costumes and lots of makeup, who interpolates some turkish-looking dance moves into his arias. Very neat idea for this character, as his arias are very bouncy and dancelike tunes (shades of the McVicker Giulio Cesare? perhaps). Asteria also is very well sung, and brings interesting middle-eastern style hand gestures into her first aria. Domingo's Bajazet is good, altho he is not really a Handel singer, but this role suits him, and he is much more convincing as a father figure than some Bajazets are (young tenors don't seem grave enough...Randle is very young on the Pinnock dvd, and not really made to look old). Mingardo's Andronico is well sung, although I thought she wasn't as comfortable in the trouser role; not charismatic, but vocally has the ability for this very, very difficult Senesino role.As with Graham Vick's production of Mitridate re di Ponto from Covent Garden (also on DVD), there are groups of dancers who sometimes contribute to the ebb and flow of the emotions and music in the arias. In only case case did I feel this didn't work quite right (Leone's aria). It was a wonderful idea, and in fact, if you have seen that dvd of Mitridate, you can have a good idea of the overall feel of this production. My only complaint about the dvd is that the video director made some annoying choices. He regularly focuses on Paul McCreesh and the orchestra for longish periods of time, even though things are happening onstage. I don't want to see the orchestra that much, and especially with a production as stimulating as this one, I want to see every moment onstage. He also didn't do a good job of focusing on, or even showing, the dancers sometimes. It was almost like he didn't like the dancing and wanted to show it as little as possible. This was really annoying. Finally, when Domingo was singing, he seemed to just want to go closer up on Domingo and ignore everything else on stage entirely. Bad move. I hate it when a stupid video director makes weird choices and ruins a perfect performance (Pierre Audi's dvd of Zoroastre is another example of this). However, I should close by saying that the director doesn't do this kind of thing constantly, and overall he avoids close-up, going in only for waist length shots usually, which I like better. So it is good in that respect most of the time. Overall: highly recommended. Certainly better than Pinnock's, and worth getting even if you are new to Handel opera. I sold my dvd of the Pinnock one. This is great. I think there are lengthy clips from it on YouTube if you want to sample it before you buy this very expensive set.
4 of 4 people found the following review helpful:
5.0 out of 5 stars
Superb production which should be on the shelf of all opera lovers,
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This review is from: Tamerlano [Blu-ray] (Blu-ray)
This is another opera where viewing the extra feature discussion with the conductor Paul McCreesh is very helpful preparation to better appreciate this very long opera so should be viewed first. He explains some fundamental differences between Baroque Opera and the later genre and this makes appreciation of this Handel work so much better.Tamerlano is spread over 2 BD discs but is like Rameau's Zoroastre in that it is a work I'm attracted to come back to again and again. As with most Baroque operas it is a very long winded story caused basically by lengthy recitatives and arias with considerable repetition in its 3+ hours. But the Handel's music and its singing is so good in this production one can just relax and wallow in the emotion it generates so its length becomes an asset rather than a liability. The voices of the female singers are not powerful but have a lovely timbre and are backed up by Placido Domingo who has never tackled baroque opera before but does so here brilliantly. The final duel with Monica Bacelli and Sara Mingardo is beautifully done and very touching. Their voices blend superbly and the recording generally is very well balanced.. And one should not ignore the musical contribution from the Orchestra of the Teatro Real (Madrid Symphony Orchestra) so ably and intelligently conducted by Paul McCreesh. Somehow he has managed to extract a very appropriate Baroque sound from these players using standard instruments. The staging is relatively stark but very effective with the artists in appropriate costumes highlighted by clever lighting and stage effects. But I'll level the same criticism at this presentation as I did with Zorostrate. It is not acceptable to omit a written synopsis of the plot and replace it with a few minutes of display among the extras. These plots are rather involved, not so much as to be incomprehensible, but complex enough to need written description, particularly for anyone like myself coming to this for the first time. So I hunted up a description on the net but that should not really be necessary. Anyone who loves opera should be able to enjoy Baroque operas such as this, but it does help to understand that it is the recitative that guides the story rather than the aria as in Verdi etc works. Yes it does seem to carry on and on in some of these recitatives and arias but this is forgivable when the singing and the music is as good as it is here. It is a sound idea to follow Paul McCreech's suggestion of seeing an Act at a time and must admit I would find it difficult to appreciate it as much if I had to sit through the complete opera in the one session. But that is the beauty of being able to view it in the home at leisure. This production is a gem and deserves to be on the shelf of all opera lovers. Unreservedly recommended.
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