Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
Tamerlano
by George Frideric Handel
Tamerlano
by George Frideric Handel
A quick overview of Handel’s 1724 tragic opera set in the Ottoman Empire.
Premiered
1724
Music by
George Frideric Handel
LIBRETTO by
Nicola Francesco Haym
Languages
German and Italian
Background
Working at his usual break-neck speed, Handel composed Tamerlano, one of his longest operas, in just three weeks.
His subject—the defeat of the Ottoman emperor Bajazet and his enslavement to the ruthless Tamerlano (commonly known as “Tamerlane” or “Timur the Lame”)—was a natural choice for the composer, who frequently turned to tales from antiquity for inspiration. From the opening scene where the vanquished Bajazet threatens to take his own life, to the final, somber quartet, Tamerlano stands as the most genuinely and consistently tragic of Handel’s operas.
The historic Tamerlano was a nomadic Turkish bandit who became emperor of central Asia. In 1402, at the Battle of Ankara, Tamerlano finally crushed the revered leader of the Ottoman empire, Bajazet.
In the centuries that followed, numerous composers and playwrights have taken up the story. There are at least four operas alone.
While some interpretations, such as Christopher Marlowe’s Tamburlaine, feature a dizzying array of characters and locales, the libretto for Handel’s Tamerlano distills the tale down to a mere six characters whose lives are tightly and uncomfortably entwined. This narrow focus establishes a more intimate setting for the opera in which the audience can observe the characters more closely and see that there is more to the conquered hero, Bajazet, and the cruel tyrant, Tamerlano, than meets the eye.
Though Tamerlano saw its premiere in 1724, Handel made significant revisions a few years later.
Synopsis
Act I
Defeated by the Tartar emperor Tamerlano and his Greek ally Andronico, the Turkish sultan Bajazet tells Andronico that he would rather die than remain captive; only his love for his daughter Asteria prevents him from taking his own life. Tamerlano offers to restore Andronico to the throne of Greece, but Andronico asks to remain with Tamerlano to learn the art of war, hiding his true motive—that he and Asteria have fallen in love.
Tamerlano consents, confiding in Andronico that he loves Asteria and intends to make her his wife. He asks Andronico to seek Bajazet’s consent to the marriage, in reward for which Andronico may marry Irene, Princess of Trebizond, to whom Tamerlano himself has been betrothed.
When Tamerlano reveals these plans to a stunned Asteria, she believes that Andronico has betrayed her in order to advance himself. Torn between love and duty, Andronico meets with Bajazet and Asteria to convey Tamerlano’s offer of freedom in exchange for the hand of his daughter. Bajazet rejects the proposal outright (“Ciel e terra armi di sdegno”), and his defiance is only strengthened by Asteria’s revelation of Andronico’s apparent duplicity. Andronico protests that he does not deserve Asteria’s reproach; but, when he seeks to reconcile with her, she angrily dismisses him. Alone, Asteria prays that her love may turn to hatred.
Arriving from Trebizond escorted by Andronico’s associate Leone, Irene is vexed that her future husband is not present to welcome her. When Andronico informs her that he is now her betrothed, Irene grows enraged at Tamerlano’s faithlessness and vows revenge. Andronico persuades her not to confront Tamerlano immediately, but to wait until the moment is right. An agonized Andronico laments that he must hide his true feelings for Asteria in order to save her father (“Benché mi sprezzi”).
Act II
A grateful Tamerlano tells Andronico that, thanks to his intercession, Asteria has agreed to be his bride. He also says that Andronico is to marry Irene in a double wedding before the day is done. Accused by Andronico of rushing into marriage in order to gain the throne, Asteria in turn accuses him of driving her to this decision through his surrendering to Tamerlano.
Andronico declares that he will turn against Tamerlano, but Asteria replies that it is too late. Disguised as her own messenger, Irene tells Tamerlano that the Princess of Trebizond will return home unless he marries her. Tamerlano agrees to wed Irene only if she can make Asteria displease him. As Tamerlano leads Asteria to the throne, Bajazet intervenes, railing at his daughter’s treachery. Tamerlano orders that Bajazet be thrown to the ground so that his own daughter can step upon him as she ascends the throne. Asteria refuses, beseeching her father’s forgiveness, but he repudiates her. Tamerlano summons Irene for the nuptials; she arrives, still incognito, to say that the princess will not come until the path to the throne is clear, whereupon Tamerlano challenges her to make Asteria step down. Bajazet again intervenes, denouncing his daughter.
Overwhelmed, Asteria descends from the throne to be with her father. Drawing a dagger, she reveals her secret plan—the assassination of Tamerlano during their first embrace. Tamerlano threatens Bajazet and Asteria with death. Reconciled, the father and daughter welcome Tamerlano’s sentence.
Act III
Fearing that Tamerlano may exact vengeance upon Asteria in unspeakable ways, Bajazet enters into a suicide pact with his daughter: she will poison herself at the first sign of danger from Tamerlano and he will poison himself upon news of her death. Meanwhile, Tamerlano confesses to Andronico that Asteria’s scorn has amused him, and he still wishes to share the throne with her. No longer willing to hide his love, Andronico declares his rivalry for the hand of Asteria, who then admits to Tamerlano that she loves Andronico. Again rejected, Tamerlano decrees that Asteria’s father shall be beheaded and that she shall marry the lowliest slave. Asteria throws herself at Tamerlano’s feet to plead for her father’s life.
The arrival of Bajazet provokes Tamerlano further. He orders the father and daughter to be dragged to his table, where they will be humiliated before Andronico and the court. (“A dispetto d’un volto ingrato”) Tamerlano commands Asteria to take a cup and kneel before him as a servant. Asteria drops her poison into the cup and offers it to Tamerlano. Witnessing this, Irene stops Tamerlano from drinking and reveals her true identity. Tamerlano bids Asteria offer the poisoned drink to either her father or her lover—she must choose who will die. Instead, she raises the cup to her own lips, but Andronico dashes it out of her hand. Tamerlano orders Asteria to be taken to the slaves’ harem and thrown to the rabble while her father looks on. Bajazet thwarts this disgrace by poisoning himself, heaping curses upon Tamerlano to the end. (“Empio, per farti guerra”) Horror-stricken, Asteria pleads in vain with Andronico and Bajazet for a dagger so that she may join her father in death. Tamerlano orders that Asteria be arrested, prompting Andronico to threaten suicide. Tamerlano stops him, declaring himself appeased by the death of Bajazet. Tamerlano will reign with Irene by his side, and Andronico will be united with Asteria and restored to the throne of Greece.
Synopsis courtesy of Spoleto Festival USA
Meet the Artists
Read the Student Guide
Listen to the Story
Andrea Celesti (1637–1712), Tamerlane and Bajazet, circa 1700. Oil on canvas. Prussian Palaces and Gardens Foundation, GK I 5033 [].
Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Handel’s 1724 historical drama, Tamerlano.
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