The latest Handel oratorio to be given the operatic treatment by Glyndebourne is Saul, which played in 2015 in a production by Australian Barrie Kosky. It’s quite a remarkable work. The libretto, as so often the work of Charles Jennens, takes considerable liberties with the version in Samuel and incorporates obvious nods to both King Lear and Macbeth as well as more contemporary events. David’s Act 3 lament on the death of Saul, for instance, clearly invokes the execution of Charles I. What emerges is a very classic tragedy. Saul, the Lord’s anointed, is driven by jealousy and insecurity deeper and deeper into madness and degradation and, ultimately, death. This is the basic narrative arc of the piece.