Handel’s Theodora is probably performed more nowadays as a staged opera than as an oratorio. The same is true for several of his other English language oratorios; notably Semele. It was in that format I was introduced to Theodora by Peter Sellar’s famous production at Glyndebourne, which I loved, but I had never sat down and listened to the piece until getting my hands on a recent recording on the Alpha label. Bottom line, I think it’s some of Handel’s best music. Maybe the second part isn’t as inspired as the first and third but it abounds in truly great airs and the libretto is really tight; dramatic and carefully constructed.
The Raptur’d Soul
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Handel’s Israel in Egypt is one of the less well known of his English language oratorios. It’s also got a bit of an ofdd performance history with the first of the three acts often omitted. The new recording from period instrument ensemble Apollo’s Fire includes all three acts but omits some numbers and shortens others in a selection made by music director Jeannette Sorrell. This appears not to be uncommon. A quick scan of available recordings revealed performance durations of anywhere from 75 minutes to 150 minutes. This one comes in right on the bottom end of that range.
I don’t review a lot of full length audio only recordings of mainstream operas. Generally I think video makes more sense but sometimes something comes along that attracts my attention. The recent recording of Handel’s Serse by the English Concert with Harry Bicket was one such. This time it’s the cast that caught my attention. There’s Emily d’Angelo (are we allowed to call her “young” or “emerging” any more?) in the title role but also such fine Handel singers as Lucy Crowe as Romilda and Mary Bevan as Atalanta. As it turns out there’s not a weak link in the cast and while these three turn in fine performances so do Daniela Mack (Amastre), Paula Murrihy (Arsamene), Neal Davies (Ariodata) and William Dazeley (Elviro). 
It’s a bit of a thing with me. I tend to prefer staged versions of the Handel English language oratorios to the Italian operas. I know it’s a view I share with quite a few singers, including Ryan McDonald and Anna Sharpe with whom I was chatting about it on the weekend. But, it would seem, this opinion is not shared by opera house managements (not to be confused with audiences!). 
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