Nobody else quite adds up, apart from baritone Gianluca Margheri’s Bajazat, an uninteresting captive invested with rough energy. When he opens his mouth you think, look Tarzan, sing Jane, but the countertenor voice is about as powerful as they come, and Laing risks much in rasping it when the drama so demands. But James Laing's energetic, dangerous portrayal of Tamerlano as a bare-chested, battle-scarred psychopath is compelling throughout. The plot, such as it is, really revolves around which woman he will take as consort – Bajazet’s daughter Asteria, in love with Another (Greek prince Andronico) or Irene, Princess of Trebizond. The only consistent character in Adele Thomas’s production is Tamerlano, aka Timur Leng, the rapacious shepherd-conqueror who as the action starts has Ottoman Emperor Bajazet in thrall. Molly O'Cathain's tarnished gold-and-wood set helps the singers to project - it's perfect for touring - and works harmoniously with a range of costume blues. ![]() ![]() He doesn’t characterize through arias as keenly as Handel, but his string writing is unique, and what a revelation to have Peter Whelan’s inspirational guidance from the harpsichord of 10 other players in the Irish Baroque Orchestra.
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