For the production of Vivaldi's “Bajazet”, director Krystian Lada created a meta-level to tell the story of the bloodthirsty Tatar ruler, his disempowered opponent and his daughter Asteria, who is looking for revenge. That may sound far-fetched, but it creates pep and tension. His protagonists - radio play speakers who slip into the characters from the 15th century - get additional motivation to sing their arias. Vivaldi drew this partly from his own operas, partly from his competitors Giacomelli, Hasse and Broschi for a pasticcio - and thus addressed the raging dispute between Venetian and Neapolitan opera composers by assigning the Ottomans his own arias, the Mongols those of the Neapolitans.
Lada has invented another one around the Tamerlan story, which was popular in Vivaldi's time: about a production manager who wants to become a movie star and feels disliked, and his sister, who was only supposed to assist, but whether the delay of the diva has to slip into her shoes. A second drama takes place on a non-verbal level, underlining the conflicts: there is singing or silence through strict gestures, radio play studio reality and opera action blur, and one no longer knows which strand of attacks belong to.