Purists say what you will, this is one of the most stupendous recordings of a Haendel opera, the major participants all in major form in a major work difficult to bring to life today - will Peter Sellars succeed with Christie in Paris? A musicologically authentic version with the late Arleen Augér and Richard Hickox on EMI is a worthy alternative.

The current model for performing Haendel, Jacobs is very much aware that voices with character are needed; this recording is deficient in its heroine but Larmore and Fink more than compensate.

Another aspect of Haendel's genius, this dramatic oratorio is in fact an opera, performed with passion by Gardiner and Co., Sarah Walker standing out as the terminally jealous Dejanira.

The works of Haendel hold no terrors for Watts and Baker, two sure values during the 60s and 70s, who make these works live as few others have been able to do. Baker has not yet been reissued; for some inexplicable reason EMI is very stingy with their Baker holdings.

Von Karajan still reigns supreme in one of the most joyous recordings with an incomparable group of singers. Listen to Wunderlich and one can only regret his early death, so that Krenn had to be brought in to sing the recitatives. Janowitz, Berry and F-D are all very much present.

Another recording in limbo, sung, oh horror, in English translation, but the joys of Beecham in Haydn must be sampled. You won't go too far wrong with Böhm's version with the Vienna Symphony, even though it misses the lightness of touch Beecham brought to his music-making.

Not an opera easily accessible, but this is the recording which will help us to uncover the treasures within a densely scored orchestra. F-D is his usual impeccable and communicative self, abetted by Kubelik who uncovers the human core of a knotty work.