Haendel's Tamerlano

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Tamerlano

Tamerlano is an opera seria in three acts by Georg Frideric Handel, set in the aftermath of the Tartar conquest of Turkey, and delves into a complex web of love, power, and vengeance. The defeated Ottoman Sultan, Bajazet, languishes in captivity, contemplating suicide until his love for his daughter, Asteria, compels him to endure. Meanwhile, the victorious Tartar emperor, Tamerlano, becomes captivated by Asteria's beauty and proposes a deal: her hand in marriage for her father's freedom. This seemingly straightforward proposition throws the characters into turmoil. Asteria is already in love with Andronico, a Byzantine prince who has sided with Tamerlano. Andronico, bound by both duty and affection, struggles with his conflicting loyalties to Tamerlano and Asteria. Further complicating the situation, Tamerlano has also arranged a marriage with Irene, a princess from a neighbouring kingdom. As the opera progresses, these characters are forced to make agonising decisions. Asteria must choose between love and duty to her father. Andronico grapples with betrayal and the potential to reclaim his throne. Tamerlano vacillates between his desire for Asteria and his commitment to Irene. Ultimately, the opera explores the human cost of conquest and the lengths to which individuals will go for love, power, and ultimately, survival. The opera premiered at the King's Theatre in London on the 31st of October 1724. The libretto, by Nicola Francesco Haym, was adapted from Agostin Piovene's libretto Tamerlano of 1711, and also from Bajazet of 1719, another version of the same libretto revised by Ippolito Zanelli and Francesco Borosini after Jacques Pradon's play Tamerlan, ou La mort de Bajazet of 1675. The music itself exemplifies the Baroque style with its focus on clear melodies, intricate counterpoint, and dramatic use of the orchestra. Singers take centre stage, particularly the castrato roles, alongside soprano and tenor characters, with arias often utilising the da capo form. Tamerlano received initial acclaim upon its debut, but its popularity subsided over the years. This has been attributed to the complexity of the plot or the changing tastes of audiences, while others point to the eventual decline of the castrato singing tradition, which played a central role in the opera.

Emperor of the Tartars

Sultan of the Turks, prisoner of Tamerlano

daughter of Bajazet, lover of Andronico

contralto/mezzo-soprano

Princess of Trebizond, betrothed to Tamerlano

contralto/mezzo- soprano

servant to Tamerlano, friend to Andronico

Conquered Turkish city of Prusa [Bursa], capital of Bithynia, 1402

'Esci, esci, oh Signore!'

'Prence, lo so, ti devo'

'Forte e lieto a morte andrei'

'Non si perda di vista il disperato'

'Vo' dar pace a un'alma altiera'

'Il Tartaro ama Asteria'

'Bella Asteria, il tuo cor mi difenda'

'Il fortunato Andronico'

'Serve Asteria di prezzo'

'Se non mi vuol amar'

'Non ascolto più nulla'

'Ciel e terra armi di sdegno!'

'Asteria, non parlate?'

'Deh! lasciatemi il nemico'

'Così la sposa il Tamerlano accoglie?'

'Dal crudel che m'ha tradita'

Accompanied Recitative

'Chi vide mai più, sventurato amante?'

'Benchè mi sprezzi l'idol ch'adoro'

'Amico, tengo un testimon fedele'

'Bella gara, che faranno'

'Qui l'infedel! cogliamo'

Accompanied Recitative

'Ah no! Dove trascorri, idolo mio?'

'Cerco in vano di placare'

'Signor, vergine illustre'

'Senti, chiunque tu sia'

'Gran cose espone Asteria.'

'Par che mi nasce in seno un raggio di speranza'

'Veggio da questi amori''

'Amor dà guerra e pace'

'Dov'è mia figlia, Andronico?'

'A suoi piedi padre esangue'

'Se Asteria mi tradisce'

'Più d'una tigre altero'

Accompanied Recitative

'Al soglio, al soglio, oh bella!'

'E per lei vengo ad impegnar quel post!'

'Voglio stragi, voglio sangue'

'Padre dimmi, son più l'indegna figlia?'

'Nò, nò, il tuo sdegno mi placò'

'Andronico, son più l'infida amante?'

'Nò, che del tuo gran cor'

'Amica, son quella superba donna?'

Tamerlano, Andronico, Asteria

Accompanied Recitative

Aria and Accompanied Recitative

Accompanied Recitative

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