Tamerlano review – Trump, Freud and a Bridgerton escapee struggle to get a handle on Handel

2026-03-27 - 13:00

Shoreditch Town Hall, London Orpha Phelan’s fun but confusing staging for the London Handel festival aligns the opera’s characters with recognisable famous figures. Fine singers and players led by Laurence Cummings ensure consistent musical excellence Tamerlano hails from 1724, the same year as Giulio Cesare and Rodelinda. If it fails to match their level of musical invention, it arguably boasts a richer emotional palette with three-dimensional characters buffeted by love, lust and the desire for retribution. A palpable hit in its day, the defeated Turkish sultan, Bajazet was one of the first leading roles ever written for a tenor. There were plum opportunities as well for two of the era’s megastars: Francesca Cuzzoni as Bajazet’s daughter Asteria and the great alto castrato Senesino as the plot’s endlessly conflicted pivot, the Greek prince Andronico. The action takes place at the court of the despotic emperor Tamerlano to where the stubborn Bajazet has been brought in chains. The tyrant has the hots for Asteria and so decides to dump his betrothed, Irene, Princess of Trebizond. His not-so cunning plan involves offering Irene’s hand to Andronico, but alas, Andronico too loves Asteria. With both Bajazet and Andronico constantly threatening to end it all, and Asteria hell bent on assassinating Tamerlano, it’s a miracle the opera ends with an implicit double wedding instead of a bloodbath. Continue reading...