Handel’s last oratorio is a profound masterpiece. This recording, patched together by Norwegian Radio, squeezes onto just two discs, which invites suspicion that either Fabio Biondi’s conducting is insensitively abrupt or that the score has been clumsily cut. In the event, both fears prove true. The Stavanger Symphony Orchestra plays modern instruments in an authoritative Baroque style; the crisp overture is neatly detailed, although Biondi ought to have achieved more shapeliness in the Minuet. The timbre of period instruments is seldom missed, such as the flute during Storgè’s “In gentle murmurs”, but the copious use of theorbo, harp and organ continuo is an implausible gimmick that ought not to be confused for correct style. James Gilchrist’s rapid passagework and florid cadenza in “His mighty arm” are marvellous. The Norwegians Marianne B Kielland and Mona Julsrud are on vibrant form in the love duet “These labours past”, but Biondi’s cutting of the dal segno repeat is criminal. Iphis’s “Welcome, as the cheerful light” is brutally cut to shreds.

Biondi’s direction often serves the music and drama poorly: the symphony in which Iphis comes to greet her horrified father is ruined by hurried choppiness in 12/8 music that ought to have been gently pastoral; the merry skip through “Dull delay” robs Hamor of what should have been a rapturous moment; Handel’s detailed tempo marking Con spirito, ma non allegro for Jephtha’s “Open thy marble jaws” is mostly ignored; and the instruction for the middle passage of Storgè’s “Let other creatures die” to be dolce is entirely missed. Biondi underestimates the effectiveness of Handel’s full string scoring by using solo strings to accompany two of Iphis’s noble airs. Collegium Vocale Gent’s choral contributions fail to do anything interesting with the words. There is no expressivity in the famously poignant “How dark, O Lord, are thy decrees” (the passage at the end of Act 2 which Handel was composing as his left eye deteriorated), and I have never before heard the climactic chorus “Theme sublime of endless praise” sung with such apathetic indifference. This is not the first-class Jephtha most Handelians will have on their list of desiderata.