Handel's 1724 opera Tamerlano followed the success of his previous year's Giulio Cesare with another colourful historical costume drama. This time the setting is the court of "Timur the Tartar", who has just defeated the Turkish Sultan Bajazet at the battle of Angora. There are, naturally enough, romantic complications when both Tamerlano and his ally, the Greek Prince Andronico, fall in love with Bajazet's daughter Asteria. She, however, has plans to revenge her father's defeat.

This production was directed by Jonathan Miller and staged in the intimate surroundings of the Goethe Theatre of Bad Lauchstadt as part of the 2001 Halle Handel Festival. Miller's sparse gold-draped sets, as well as the video direction, always lead the eye towards the singers and their splendidly decorative costumes. Mezzo Monica Bacelli looks a little too pretty beneath her moustache to be convincingly threatening as Tamerlano; soprano Elizabeth Norberg-Schulz is a full-blooded, perhaps overripe Asteria; and Thomas Randle tackles the very demanding tenor role of Bajazet. None of the voices are necessarily "authentic", but thanks to the musical direction of Trevor Pinnock--an experienced and sensitive Handelian--the performance always feels completely natural. In the pit Pinnock's English Concert are, as always, a delight. Anyone who has not yet discovered the sometimes arcane delights of Baroque opera will find much to encourage them here; seasoned opera seria buffs should not hesitate.

On the DVD: Tamerlano comes handsomely packaged in a two-disc set with a colourful and informative booklet. The extra features put most other ArtHaus releases to shame. To begin with the "Score Plus" facility, which superimposes the score over the picture, will provide hours of joy (all DVD operas should have this as standard). There are subtitles in English, German, French or Spanish. There's a lengthy (40-minute) "Making of" documentary, which takes us behind the scenes with Jonathan Miller, Trevor Pinnock and their team at Sadler's Wells then in Halle. More material about the Handel Festival can be found in the "Interviews" section, the selection of "Historical Film Footage" from previous Festivals, and the illustrated "Interactive Chronolgy". The 16:9 picture is perfectly adequate, and the sound options are good PCM Stereo and Dolby 5.1. --Mark Walker

The most popular and well-loved of all Handel's great oratorios, The Messiah here receives warm if not exactly passionate treatment under the direction of Stephen Cleobury. This is a period-instrument performance featuring Roy Goodman and his Brandenburg Consort, although not one that aims at any inflexible authenticism. The four soloists are all of the first rank, as are, of course, the choristers of King's College, Cambridge. So, musically the concert's credentials are impeccable. The setting is the Pieterskerk, Leiden, which at least boasts a sympathetic acoustic even though its visual beauties are hidden in candlelit gloom. It must have been a charming evening for the audience, but the film version doesn't really have anything more to offer the home viewer than a few close-ups of the soloists and the occasional cutaway shot of an appropriate painting. Hence, this disc will be of interest if you want to see musicians giving a delightful performance instead of just listening to them; but it's no substitute for a good audio recording.

On the DVD: This is a non-anamorphic widescreen picture, not the 4:3 ratio claimed on the back cover. The sound is only PCM stereo, there are no extra features, and the disc only has the most basic of menus. Chapter access is restricted to just three points. If you wish to select a specific aria or chorus you have to refer to the inside of the booklet and work out which track you need to jump to. And would it be asking too much for the libretto, either on screen or in the booklet? Overall, a very disappointing DVD presentation of an otherwise enjoyable concert performance. --Mark Walker

The English National Opera has always had an attractively light touch in Handel; this classic production, designed by Nicholas Hytner (director of The Madness of King George and The Crucible), manages to preserve both the work's occasional passion and its undercutting of that passion into urbane absurdity. Anne Murray's Xerxes is a tyrant in love, who learns the hard way that he can neither play with, nor command, his subjects' affections; her forthright declamatory singing, not least in the famous "Larghetto", conveys both the petulance and the final grandeur of a man undergoing a sentimental education. Valerie Masterson and Christopher Hudson, as the principal pair of lovers, combine perfect singing with an attractive romantic ardour; Hudson in particular makes clear just how heroic a counter-tenor can sound, listened to without preconceptions. In the soubrette role of Atalanta, Lesley Garrett is a cute trouble-maker. Sir Charles Mackerras' conducting gives each of the genre arias of which the work consists both an appropriate intensity of emotion and an overall charm. The English libretto is by Hytner. The recording is decent PCM stereo and the picture, originally produced for TV broadcast, is in 4:3 ratio. --Roz Kaveney