Placido Domingo, the world’s greatest living tenor. Sarah Coburn, the up-and-coming young soprano everybody’s talking about. David Daniels, the top countertenor in the known opera universe. Respected Baroque specialist William Lacey conducting an orchestra burnished by additional period instruments.
The Washington National Opera’s new production of George Frideric Handel’s little-known tragic opera “Tamerlano” opened Wednesday at the Kennedy Center’s Opera House to a capacity audience. It’s too bad they could barely see what they had paid for.
“Tamerlano” is a liberal retelling of the tale of a nomadic leader who conquers the noble Ottoman Emperor Bajazet. In Handel’s take, Tamerlano becomes enamored of Bajazet’s daughter, Asteria, spurning his intended bride, the Princess Irene. Complicating matters is his pal and would-be king of Greece, Andronico, who secretly loves Asteria. Plots and counterplots lead to a messy and tragic conclusion.
Although the title role is relatively small, Mr. Daniels exploited his opportunities to the fullest, particularly in his furious Act III aria, in which he threatens the cruelest vengeance upon Asteria and Bajazet for conspiring to do him in. His flawless execution of the aria’s wicked ornamentation was one of the evening’s musical highlights.
Mr. Domingo’s turn as the doomed Bajazet was as impressive as it was moving. He convincingly portrayed a defeated adversary determined to retain honor even through death. Much of this role is spent in the lower registers of his range, and the richness and expressiveness of his tone were beyond compare.
Miss Coburn was extraordinary as Asteria, Bajazet’s conflicted daughter, whose heroic plot against Tamerlano is thwarted by her father’s blindness in defending his honor. With a sweet lyric voice that is nonetheless capable of great power, she continues to win admirers with her expanding skills and emotional range.
In the strenuous trouser role of Andronico, Patricia Bardon was a revelation, displaying a rich, supple instrument loaded with power and depth. As the clever but much-put-upon Irene, would-be queen of Tamerlano, Claudia Huckle, a Domingo-Cafritz Young Artist, continues to demonstrate that she has a most promising future. Andrew Foster-Williams was a delightful surprise, nearly stealing the show with his brilliant Act II aria as minor character and go-between Leone.
The WNO Orchestra performed masterfully, proving the ideal accompaniment for an ensemble of major singers.
These superlatives were almost entirely negated by the bland sets, thuggish robo-cops and mostly monotone contemporary costuming of set designer David Zinn. Even worse was Christopher Akerlind’s sepulchral lighting scheme, whose creative concept ranged from dark to darker. Throughout much of the production, the audience could barely see the singers.
This lighting scheme robbed singers and music of beauty, dignity and tragedy, casting a tomblike sameness on the production and leading many in the frustrated audience to head for the exits at each intermission. Turning up the lights would allow “Tamerlano’s” remaining ticket holders to see the all-star cast they hope to enjoy.
**
WHAT: Washington National Opera’s production of Handel’s “Tamerlano”
WHERE: Kennedy Center Opera House
WHEN:Tomorrow at 2 p.m.; May 12 at 7 p.m.; May 20 and 22 at 7:30 p.m.
TICKETS: $57 to $250
INFORMATION: Call 202/295-2400 or visit www.dc-opera.org MAXIMUM RATING: FOUR STARS
Please read our comment policy before commenting.