The International Händel Festival taking place at the Badisches Staatstheater in Karlsruhe presents Handel’s Tamerlano. It’s a prime opportunity to witness the immense RenĂ© Jacobs at the helm of the orchestra.
Kobie van Rensburg delivers a truly astonishing performance. The singers are filmed by three cameras, allowing them to be seamlessly integrated into live digital sets. This gives the audience a dual perspective of the stage, almost as if they were film directors, watching the scene in both pre-production and post-production stages.
The initial effect is disorienting, as the eye isn’t sure where to focus, but the concept quickly becomes compelling. The production exists on the fine line between live theater and cinema. By paying homage to black-and-white silent film, this technique allows the audience, regardless of their position in the hall, to fully appreciate the characters’ facial expressions, thereby grasping their emotions more intimately.
The director pushes the limits of digital effects, immersing his characters in flying carpets, chariots, and even elephants. This infuses the opera with a new vitality, while also injecting theatrical dynamism into the da capo arias, which can sometimes feel static.
In an era where video effects can often feel like a gimmick in opera, here they are a resounding success, as they serve as the core of the performance, used intelligently and effectively.
Kudos to the singers for navigating these sparse sets on stage with such presence.
Matthias Winckhler is a convincing Leone. His two major arias, “Amor dĂ guerra e pace” and “Nel mondo e nell’abisso”, allow him to shine, particularly in the lower registers, where his vocal runs are impeccable.
Kristina Hammarström’s Irene is sly and experienced. The mezzo-soprano transports us on her flying carpet in “Dal crudel che m’ha tradita”, where her flawless technique and commanding presence provide a strong counterpoint to the irascible Tamerlano.
Thomas Walker‘s Bajazet benefits immensely from the close-up shots, which capture the full range of emotions as the defeated king and father. The tenor excels in slower, more sentimental passages like “No, no il tuo sdegno” but struggles a bit in more heroic moments such as “Empio per farti guerra”. His interpretation is superb, nonetheless.
Alexander Chance’s Andronico leaves us in awe. The countertenor ticks every technical box, with his rendition of “Benchè mi sprezzi l’idol ch’adoro” from his chariot standing out for its pitch-perfect precision. His duet with Asteria, “Vivo in te”, is a pinnacle of emotion. A total triumph, this is a singer to watch closely.
Mari Eriksmoen’s Asteria captivates from the start, with her two heart-rending arias in the first act, “S’ei non mi vuol amar” and “Deh, lasciatemi il nemico”. Her always combative Asteria offers a sublime moment in “Cor di padre”, where her voice impresses with its variations and modulations. A formidable performance.
In the title role, Christophe Dumaux delivers a jubilant Tamerlano. His extraordinary vocal abilities are perfectly suited to the character’s complex psychology: angry, jealous, tyrannical, yet possibly naĂŻve. Every note is perfectly controlled, with “PiĂą d’una tigre altero” showcasing his vocal fireworks. Once again, the countertenor’s facial expressions are a true visual delight. Dumaux proves once more the depth of his immense talent for character portrayal.
Finally, the Freiburger Barockorchester, led by the phenomenal RenĂ© Jacobs, offers an endless array of colors, shaping the atmosphere and mirroring the characters’ emotions to perfection. They emerge as one of the evening’s true champions.
A standing ovation from the audience, visibly won over by both the visual proposal and the cast, cements Tamerlano as a resounding success.
Tamerlano : Christophe Dumaux
Bajazet : Thomas Walker
Asteria : Mari Eriksmoen
Andronico : Alexander Chance
Irene : Kristina Hammarström
Leone : Matthias Winckhler
Freiburger Barockorchester
Musikalische Leitung : René Jacobs
Regie, BĂĽhne, KostĂĽme & Video : Kobie van Rensburg
Dramaturgie : Stephanie Twiehaus
