Tamerlano (HWV 18)

In the organizer's words:

Two great rulers stand face to face in Handel's opera Tamerlano: the eponymous Tartar prince and Sultan Bajazet. Whereby the "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 actually defeated by the Turkic Mongol warriors commanded by Tamerlano. The Sultan was subsequently taken prisoner and died a few months later. The atrocities of both rulers were legendary and not only satisfied the obscure curiosity in 17th and 18th century Europe about the seemingly exotic foreign powers, but also served to work off the Ottoman Empire, which had long been regarded as a fearful enemy.

Even the French tragedian Jean Racine tried his hand at a dramatic retelling in 1672, thus establishing the so-called Turkish fashion in European art. But it was Jacques Pradon's tragedy "Tamerlan ou la Mort de Bajazet" shortly afterwards that made the material a success, inspiring librettists and composers throughout Europe to create a veritable operatic roundelay.

In 1724, the clever Handel not only saw the story's potential, he also wanted to present King William of Orange - the opponent of the French "Sun King" - with anti-absolutist material in London. And he works his magic. In Tamerlano, Handel captivates with sophisticated recitatives and profound, almost psychoanalytical, highly sensitive arias. Breathtaking: the fully composed suicide of the proud sultan, which Handel almost shows on an open stage, contrary to convention. Instead of having his suicide reported as was customary at the time, Bajazet poisons himself in front of the audience and only leaves the stage at the very last moment.

The idea came from the star tenor Francesco Borosini, who was hired especially for this 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 musically, has invited congenial Handel interpreters - and thus created the best conditions for the director Rosetta Cucchi, whose innovative productions are conquering the opera scene far beyond her home country of Italy.

Countertenor | Tamerlano: Lawrence Zazzo

Soprano | Asteria: Louise Kemény

Tenor | Bajazet: Juan Sancho

Countertenor | Andronico: Yuriy Mynenko

Mezzo-soprano | Irene: Dara Savinova

Bass-baritone | Leone: Sreten Manojlović

Göttingen Festival Orchestra

Musical direction: George Petrou

Stage direction: Rosetta Cucchi

Stage design: Tiziano Santi

Costumes: Claudia Pernigotti

Lighting: Ernst Schießl