When last autumn Plácido Domingo sang his 125th opera role as Orest in Gluck's Iphigénie en Tauride he performed sterlingly, but a nitpicker might think him implausible as the young Greek to whom Iphigénie is mysteriously drawn (in fact, her brother). By contrast, Bajazet in Handel's Tamerlano - the tenor's 126th role - profits from the bearing of a senior. An age gap (at least in Handel's opera) serves to set apart the Ottoman emperor from his hot-tempered, low-born captor, the Tartar warrior Tamerlano, as surely as does Bajazet's haughty demeanor.

From his first contemptuous glance at his guards when emerging from a subterranean cell, Domingo's performance has a lot more going for it than just age. We used to marvel at his vocal longevity, now we accept it as a wonder of nature. His every scene in the Washington National Opera's new production rivets attention on the plight of Bajazet, one of Handel's most tragic figures. The honeyed tone still sounds fresh, even if a more supple voice might have brought more nuance to Bajazet's farewell to his daughter Asteria in his shattering suicide scene.

Domingo (left) is surrounded by a stellar cast. The countertenor David Daniels, as Tamerlano, hurls coloratura like a lethal weapon. The luminous soprano Sarah Coburn is a superbly expressive Asteria. Compared with Bajazet's, the predicament of Asteria's lover Andronico, who is pressed to cede her to Tamerlano, seems trifling, but Andronico has some wonderful music, which the mezzo Patricia Bardon sings beautifully. Claudia Huckle and Andrew Foster-Williams excel in smaller roles.

Chas Rader-Shieber's production gives the opera a modern look but respects the dramatic points Handel makes so tellingly. The clash of cultures is emphasised by clothing Bajazet and Asteria in resplendent eastern garb, the others in black business suits (designed by David Zinn). An imposing, run-down stone structure housing the action suggests the claustrophobia of Tamerlano's court. Christopher Akerlind's lighting achieves some striking effects but elsewhere leaves the principals in shadows.

William Lacey conducts with stylish assurance. Like others, he reverts to Handel's preliminary intent to end Act Two with Asteria's aria "Cor di padre", which the composerdecided was too tragic for her fleeting moment of triumph. Lacey also sanctioned big cuts. Tamerlano is a great but long opera. Get used to it, I say. www.dc-opera.org