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A fine cast breathes life into the story of the captured Ottoman Sultan Bajazet and his Mongol conqueror.

Some exceptional singing intermittently enlivens Daniel Slater's production which, dramatically and emotionally, takes time to ignite.   

Director Davide Livermore updates the plot to the period of the Russian Revolution, October 1917, a far echo of that turning point in 1403 when the Ottoman sultan Bajazet was defeated by the Tartar Timburlaine.

Il Pomo d'Oro, junto a un elenco vocal de lujo, interpreta magistralmente Tamerlano de George Frideric Handel en el Auditorio Nacional.

Handel's psychotic Tartar leader and bedhopping nobles are well served in an excellent collaboration between the Buxton Festival and the English Concert with some outstanding singing from Marie Lys and Owen Willetts.

Handel's Tartar-Ottoman drama Tamerlano gets a majestically beautiful, if not wildly dramatic, outing at the Barbican with Il Pomo d'Oro. 

Maxim Emelyanychev conducted the period orchestra Il Pomo d’Oro in Tamerlano at the Concertgebouw, an enjoyable performance of Handel's darkest opera. 

The staging of Pierre Audi’s production of Handel’s Tamerlano at the Amsterdam Stadsschouwburg is all understated elegance, well matched by Les Talents Lyriques’ refined playing.

Handel's Tamerlano seduces the Versailles Opéra audience in a concert performance.