Alexander Balus has never been one of Handel's more popular oratorios. That's mainly because its plot is by modern standards lacking in drama and motivation, and accordingly doesn't call forth the vein of his music that nowadays has the strongest appeal. It's essentially a sentimental drama, in which the interest centres on the characters' emotional reactions to their situations, amatory, political and religious, and these are rather static in the first two acts but much more powerful in the more eventful third with the deaths of both Alexander and Ptolomee.
Here we have a very capable, idiomatic, sensibly cast performance under Robert King. The choruses are especially accomplished. The New College Choir, supported by men from The King's Consort Choir, is confident, brighttoned and vigorous, clean in line and well balanced.
Lynne Dawson sings beautifully in her firm and resonant soprano and her usual poised and unaffected style. Her singing of the lamenting music in the final act is particularly moving.
Cleopatra has a couple of duets, one with some attractive interplay with the secondary character Aspasia, sung with much assurance by Claron McFadden. As Alexander, Catherine Denley sings with much confidence and directness in music that isn't all of special individuality.
Jonathan is sung fluentlyand warmly, but very plainly, by Charles Daniels. Lastly there's Michael George, who's ideally suited to the villainous Ptolomee, with his forceful (but always musical) manner and the touch of blackness in his tone. The orchestral playing is accomplished, and often rather carefully shaped. The recitative moves at a steady but natural pace; ornamentation is generally modest. All Handelians will want to acquire this set, and others should not be put off by the indifferent press Alexander Balus has received from time to time.

We may be grateful that yet another glory has been restored by Robert King and his accomplished forces