It could be said that Israel in Egypt, composed in the last months of 1739, marked a turning point in Handel's career as a composer. Previously, his main efforts had been in opera, but a downward trend in the popularity of Italian opera seria resulted in Handel turning almost exclusively to oratorio, composing six works, Saul, Israel in Egypt, Messiah, Samson, Joseph and his Brethren and Belshazzar, between the years 1738 and 1745.

Like much of Handel's music, Israel in Egypt makes use of substantial borrowing from other works: the opening part, The Lamentations of the Israelites for the Death of Joseph, is an adaptation of The Ways of Zion do Mourn, written in 1737 for the funeral of George II's consort, Queen Caroline. First performed on 4 April 1739 at the King's Theatre, Haymarket, Israel received a mixed reception and the work fell into relative obscurity, being performed only occasionally during Handel's lifetime. On the occasion of the second revival, the opening was dropped in favour of a completely different part, mainly compiled from the Occasional Oratorio (1746) and Solomon (1748); similarly, substantial cuts were made to the second and third parts of the oratorio, a version that remained in vogue until recently.

It is therefore pleasing to hear the work in its original three-part format, here performed by the choir of King's College, Cambridge, accompanied by Roy Goodman's Brandenburg Consort and ably conducted by Stephen Cleobury. The King's sound is one with which most musicians and audiences are familiar and its world-class reputation is rightly deserved; the overall sound is extremely pleasing, but it is one that falls very much in the English cathedral tradition, so one has to question the appropriateness of performing Handel in the pseudo-period manner that is found here. Their sound might be fine for Howells or Dyson, but, generally, the lack of bel canto voice production, combined with a sometimes slightly over-used legato singing, juxtaposes very strongly with the orchestra, a leading period-music ensemble. Their playing is superb: both phrasing and articulation feel natural and a keen sense of structure and ensemble provide a drive that sadly often contrasts with the choir.

Vocally, the soloists fare much better: Stephen Varcoe effortlessly gives the text meaning and direction, and countertenor Michael Chance, whose superb solos are full of character and drive, are complemented by newcomer Robert Ogden's beautifully dignified and moving alto solo in And the children of Israel sighed. Ian Bostridge is slightly weaker, especially in Thou in thy mercy hast let forth thy people: although word enunciation is excellent, some of his intonation and phrasing is uncertain and could be more convincing. Susan Gritton's sense of balance and poise, heightened by a feeling for drama, firmly set in an operatic tradition that Handel would have recognised instantly, is wholly appropriate for this work.

Well-chosen speeds, especially at the opening, which is frequently taken too quickly, demonstrate that Cleobury is in full command of both voices and orchestra and has a clear sense of the music's affekt. What a pity, therefore, that some of the choruses have let down what is otherwise a fine interpretation.

John Woodford