While Pergolesi’s vivacious intermezzo of 1733 – a crucial staging post in the development of opera buffa – has a toehold in the repertoire, Paisiello’s 1781 setting of the same silly libretto for Catherine the Great is virtually unknown. The more sophisticated Paisiello can’t match Pergolesi for verve and unassuming lightness of touch. His fast arias tend to be more emphatic, less melodically catchy. But there is plenty to admire in the polished craftsmanship, the colourful writing for woodwind (including prominent clarinets) and, in two of Serpina’s arias, a vein of soulful lyricism characteristic of the Age of Sentiment.

What a strange, wondrous work this is! Dealing almost exclusively with emotions–paternal, filial, and romantic love, sacrifice, jealousy, hatred, spite–there is very little “action” per se. But in Handel’s Tamerlano we are smack in the middle of these people’s hearts and it’s more suspenseful and moving than operas with battles, great political themes, wind machines, and exotic dancers. In short, absolute ruler Tamerlano has conquered and taken the Turkish Emperor Bajazet captive. Despite his engagement to Irene, Tamerlano loves Bajazet’s daughter Asteria; Andronicus, his Greek ally, loves her too and Asteria returns Andronicus’ love. Although it appears as if Asteria also has accepted Tamerlano’s love (to the horror of Bajazet, Andronicus, and Irene), in fact she plans to kill him. She and her father are condemned to death when her plot is discovered, but Bajazet commits suicide and in a last minute change of heart, Tamerlano allows Andronicus and Asteria to wed, while he takes Irene as bride.