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After his formative operatic experiences in Hamburg and Italy, Handel arrived in London well able to cope with its uncertain musico-theatrical climate. Radio 3's Handel opera cycle broadcasts on Thursday & Friday of this week were , of 1711. It was an instant success, despite the mocking critique of in the Spectator, who laughed at the castrato Nicolini doing battle with a mangy 'lion' and at the infamous release of sparrows in the theatre. (Actually, Addison also recognised Nicolini's acting skills, and suggested many actors in the spoken theatre could learn the art of graceful gesture from him.)

Partly because it was Handel's first London opera, Rinaldo was performed more often during the composer's life than any other of his operas. In particular, it was frequently revived in the five seasons after its première, as the fortunes of London's operatic venture went up and down. It also contains fabulous music, as we can hear in this recording. Here takes Nicolini's role, that of Rinaldo himself. plays Goffredo, a male role that also went to a woman in the original production. Although this practice was relatively unusual in Italy, it became common in London, where there were usually more female singers of the appropriate calibre available than there were .

As you will have heard for yourselves, it was a terrific cast; if you missed it, there's always the ´óÏó´«Ã½ iPlayer. The cast included Catherine Bott, whose Early Music Show this Saturday (1pm) will be looking at the life of , who was one of Handel's particular patrons after the 1710s operatic enterprise finally collapsed.

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