Handel’s penultimate oratorio recounts the martyrdom of the lovers Theodora and Didymus, and is the most perfectly balanced and coherent music drama of Handel’s late years. Although it was a commercial failure when first produced during the Lenten season in 1750, Theodora is reputed to have been Handel’s favourite of his own works: it is alleged that when informed the theatre was almost empty he responded ‘Never mind; the music will sound the better’. It seems we have come around to sharing Handel’s high opinion of Theodora. In 1996 William Christie conducted an intense production by Peter Sellars at Glyndebourne, and since then Handelians have awaited his seminal interpretation on disc, despite admirable versions by Paul McCreesh and Peter Neumann, both released in 2000.

It is understandable that Erato subsequently withheld this recording by Christie and Les Arts Florissants, but its eventual release is vindicated by a magnificent and deeply satisfying performance. Sophie Daneman strikes a perfect blend of virtue and vulnerability as Theodora, and is spellbinding in her gorgeous arias ‘Angels, ever bright and fair’ and ‘With darkness deep’. Daniel Taylor is ideal as the devoted Didymus, and there is a tangible sense of poetry in his sensitive performance. The prison scene in which Didymus rescues Theodora typifies their quality at making recitatives meaningful without being over-deliberate and self-consciously portentous.

The sole survivor from the Glyndebourne cast is Richard Croft, whose portrayal of the Roman soldier Septimius undergoing a crisis of faith is his finest achievement on disc yet (which makes the needless abridgement of his lovely aria ‘Descend, kind pity’ regrettable). Nathan Berg is a villainous Valens who cannot comprehend why the doomed Christians freely elect to be martyred rather than bow down to his Roman gods. Juliette Galstian sings Irene’s profoundly religious arias with suitable decorum and an attractive tone, but her English pronunciation is occasionally awkward. However, the choir of Les Arts Florissants sounds at ease, and characterises the contrast between Roman pagans partying and the devout Christians praying with its accustomed charisma.

Christie is unusual among current Handel specialists for his (approximate) adherence to the composer’s specific and unambiguous tempo markings. Christie’s management of speeds, theatrical pacing, and melodic phrasing is almost perfect: a brisk dance-like treatment of animated music is thoughtfully balanced elsewhere by patient sustained expression. His conducting brings out orchestral subtleties and varied emotions in Handel’s score that previous recordings have failed to sufficiently explore, and evidently understands that Handel’s greatness as an artist is rooted in his humanity.

Despite his occasional inauthentic alterations to orchestrations, Christie’s direction consistently sparkles with life, and this exceptional recording is a timely reminder that a satisfying performance of a dramatic oratorio must be infinitely more than the sum of its parts.