Armenian up-and-comer saves the day for Opera Australia, after Georgian soprano shamed for homophobic rant. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Arts organisations up in arms as Met refuse to reinstate global broadcast of controversial opera. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Controversial Georgian soprano is dropped from Otello after ‘homophobic’ statements. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Georgian soprano 'replaced' in Belgium as her story comes under scrutiny at home.

Soprano claims Facebook letter was “changed considerably” by spouse with “tough attitude” towards gays. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Georgian soprano causes outrage for describing LGBT people as “faecal matter”. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

History rapidly forgot him and 'Amadeus' sought to paint him black but who was this much-maligned composer?

Opera house orchestra releases report asserting General Manager’s “lavish spending on unpopular productions”. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

American actor to portray operatic legend in film of Terrence McNally’s Master Class. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Peter Gelb backs down on global showing of John Adams’ The Death of Klinghoffer. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

A completely digital orchestra at the Hartford Wagner Festival has triggered a fierce debate. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Handel’s Tamerlano, written for the Royal Academy in 1724, is something of a secret pleasure for fans of 18th-century Italian opera. Lacking the magical stage machinery of the likes of Rinaldo, and with a low quotient of showcase arias to tickle the sensation seeker’s ear, it nevertheless has a claim to greatness. Why? It has one of the composer’s most grimly determined plots and a set of characters upon which Handel lavishes his utmost psychological insight. In 1402, the Mongol herdsman Timur defeated his enemy, the Turkish sultan Bayezid, who history relates he had carted around in a cage for months afterwards. In the opera, the wicked (i.e. Eastern) tyrant Tamerlano has designs on Bajazet’s daughter, Asteria, and sends his ally, the Greek (hence noble) Andronico to convey his desires to the maiden and her vengeful father. Unbeknownst to Tamerlano, Andronico is himself in love with Asteria and from these complications a tense, potentially bloody political opera ensues. Handel wrote the work at speed, as was his wont, but revised it at his leisure on more than one occasion in order to create as tight a musical drama as he was capable of. It culminates in a thrilling scene of…