Tamerlano Review: A Bold Modern Take on Handel's Opera at the London Handel Festival
In a striking and unconventional staging, Orpha Phelan's production of Handel's Tamerlano at the London Handel Festival 2026 transforms the 1724 opera into a contemporary spectacle, aligning its characters with recognisable famous figures. Presented at Shoreditch Town Hall in London, this fun yet sometimes confusing interpretation features Donald Trump, Sigmund Freud, and a Bridgerton escapee, all set against a backdrop of consistent musical excellence led by conductor Laurence Cummings and the Academy of Ancient Music.
Historical Context and Emotional Depth
Originally composed in 1724, the same year as Giulio Cesare and Rodelinda, Tamerlano may not reach the same heights of musical invention as those works, but it offers a richer emotional palette. The opera delves into complex themes of love, lust, and retribution, with three-dimensional characters that captivated audiences of its time. Notably, it featured one of the first leading tenor roles for the defeated Turkish sultan, Bajazet, and showcased the talents of megastars like Francesca Cuzzoni as Asteria and the castrato Senesino as Andronico.
Plot Summary and Modern Interpretation
The story unfolds at the court of the despotic emperor Tamerlano, where the stubborn Bajazet is held captive. Tamerlano desires Bajazet's daughter, Asteria, leading him to abandon his betrothed, Irene, Princess of Trebizond. His plan to offer Irene to the Greek prince Andronico backfires, as Andronico also loves Asteria. With characters constantly threatening suicide and Asteria plotting assassination, the opera miraculously concludes with an implicit double wedding rather than a bloodbath.
In her programme note, director Orpha Phelan explains that to make the historical backstory more accessible, she has reimagined each character as a famous figure. Tamerlano becomes Donald Trump, Andronico is Alexander the Great, and Bajazet is a Renaissance painter. Irene appears as either Elizabeth Bennet or a character from Bridgerton, while the overture introduces the concept as "Social Experiment 2," manipulated by Leone, portrayed as Sigmund Freud.
Staging and Musical Performance
Despite the creative concept reducing characters to unconnected archetypes, which can render their emotions incomprehensible, Phelan effectively moves her cast around Madeleine Boyd's resourceful in-the-round set, enhanced by Matt Haskins' lighting. The musical standards remain high throughout, with Laurence Cummings and the Academy of Ancient Music delivering a polished performance.
The fine cast embraces Phelan's vision with gusto, supported by Chris Cowell's respectable English translation. Benjamin Hulett brings nobility and spite to Bajazet, his flexible tenor described as liquid gold. Nardus Williams sings with purity and passion as Asteria, ably partnered by Jake Ingbar, whose velvety countertenor suits Andronico perfectly. Kitty Whately mines the text for all its worth as Irene, and Jonathan Brown commands the stage as Leone.
As Tamerlano, James Laing is somewhat overwhelmed by excessive buffoonery, including eating Big Macs, cheating at golf, and performing the Trump dance. While entertaining, this approach strips the opera of its essential element of danger, detracting from the character's tyrannical presence.
Conclusion and Venue Details
Overall, this production offers a unique and engaging experience, blending historical opera with modern satire. It runs at Shoreditch Town Hall in London until 28 March, providing audiences with a fresh perspective on Handel's work, albeit with some narrative confusion. The strong musical foundation ensures that the essence of Tamerlano shines through, making it a noteworthy addition to the London Handel Festival's lineup.
