Jon Vickers brings his imposing presence to a character that, while familiar to him, comes via a composer with whom he did not often cross paths. His formidable vocal weight lends the opera a grandeur not often associated with Handel, though the composer’s flair for theatricality—as honed during his Haymarket tenure—suggests he would have welcomed such scale. What emerges most strikingly, however, is the restraint with which Vickers shapes the role. He tempers his voice without diminishing the intensity of the character’s inner conflict, achieving a portrayal that is both monumental and vulnerably human.

Joan Carlyle, though an artist of considerable appeal, seems somewhat under-voiced for the demands of her role. My ear, perhaps conditioned by the fuller textures of Saint-Saëns’ treatment, yearns for a more opulent sound. Yet Carlyle navigates her part with clarity and poise, if not with luxuriant tonal warmth.

Joan Sutherland, as the Israelite woman, concludes the performance with a radiant “Let the bright Seraphim,” her technical assurance matched by the gleam of her upper register.