Unterstützt durch · Supported by Louise Kemény Juan Sancho Yuriy Mynenko 46 47 2. Festspieltag · Festival Day 2 · 17.5. Two great rulers stand eye to eye in Handel’s opera Tamerlano: the Tartar prince of the same name and Sultan Bajazet. Although “eye to eye” is relative, as Tamerlano has defeated the Turkish Sultan and taken him into custody. So far, so true: in 1402, the Ottoman army under Bayezid I was indeed defeated by the Turkic Mongol warriors commanded by Tamerlan. The atrocities of both rulers were legendary and not only satisfied the obscure curiosity of 17th and 18th century Europe about the seemingly exotic foreign powers, but also served to quell the fear of the Ottoman Empire, which had long been regarded as an enemy. The French master of tragedy, Jean Racine, tried his hand at a dramatic retelling as early as 1672, laying the foundation for the so-called Turkish fashion in European art. But it was Jacques Pradon’s tragedy “Tamerlan ou la Mort de Bajazet”, published shortly afterwards, that made the material a success and inspired librettists and composers throughout Europe to create a veritable operatic roundelay. In 1724, the clever Handel not only sees the story’s potential, but also wants to present King William of Orange – the French “Sun King’s” opponent – with anti-absolutist material in London. And he works his magic. In Tamerlano, Handel captivates the audience with sophisticated recitatives and profound, almost psychoanalytical, highly sensitive arias. Breathtaking: the fully composed suicide of the proud Sultan, which Handel, contrary to convention, almost depicts entirely on the open stage. Instead of having his suicide announced, as was customary at the time, Bajazet poisons himself in front of the audience and only leaves the stage at the very last moment. The idea was the brainchild of star tenor Francesco Borosini, who was hired specifically for the role. In Göttingen, the equally talented Spanish tenor Juan Sancho will take on the role of Bajazet. With the countertenors Yuriy Mynenko and Lawrence Zazzo, George Petrou, who will conduct the opera, has invited brilliant Handel interpreters – and thus laid the best foundation for director Rosetta Cucchi, whose innovative productions have conquered the opera scene far beyond her native Italy. Premiere 17.5. 18.00 Uhr · 6 pm Deutsches Theater Dauer: ~ 4 h 69–195 €, red. 62–157 € Weitere Aufführungen 18.5., 15.00 Uhr · 3 pm 20.5., 18.00 Uhr · 6 pm 24.5., 17.00 Uhr · 5 pm 25.5., 17.00 Uhr · 5 pm 58–142 €, red. 41–94 € Oper auf der Leinwand Tamerlano für alle 5.9., 20.00 Uhr · 8 pm Freibad Brauweg Eintritt frei · Free admission Aufführungsmaterial Performance material: Bärenreiter-Verlag Kassel · Basel · London New York · Praha Lawrence Zazzo Countertenor Tamerlano Louise Kemény Sopran · Soprano Asteria Juan Sancho Tenor Bajazet Yuriy Mynenko Countertenor Andronico Dara Savinova Mezzosopran Mezzo-soprano Irene Sreten Manojlović Bass-Bariton Bass-baritone Leone FestspielOrchester Göttingen George Petrou Musikalische Leitung Conductor Rosetta Cucchi Regie · Director Tiziano Santi Bühnenbild Set designer Claudia Pernigotti Kostüme Costume designer Ernst Schießl Licht · Lighting designer Werkeinführungen jeweils 1 Std. vor der Vorstellung, Eintritt frei mit gültiger Opernkarte, Platzanzahl begrenzt. Pre-performance talk 1 hour before each show, free admission with valid ticket, limited number of seats available
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