Handel’s early Resurrection oratorio, written in 1708 during the young composer’s Roman sojurn, is characterised by a freshness and vitality that he seldom matched in more mature works. That spirit shines through in Emmanuelle Haïm’s excellent new recording with her Concert d’Astrée, played with all the expressive flair one has come to expect of her. In what might be described as the French manner in Handel, Haïm can be exaggerated in her tempi, lavishing care on the beautiful slower numbers; but that seems to me to be absolutely right, and preferable to some of the stiff-upper-lip English interpretations in a surprisingly full discography of this work.

After all, La Resurrezione is an opera in all but name, a sacred drama hiding behind the oratorio label because of the Papal ban on opera in Rome during that period. In common with many operas of the time – and fewer oratorios – there are no large choral forces required in this portrayal of the battle between protagonists of darkness and light. The path towards the ultimate victory of Christ’s acolytes is portrayed in music of great brilliance and Handel must have made a profound impression on his Roman colleagues at the premiere – where the orchestra was led by none other than Corelli.

The international cast includes two Italians, whose verbal relish is especially good to hear. Luca Pisaroni makes a suitably villainous Lucifer and his virile bass-baritone is well up to the wide tessitura of the part; this is a devil who gets some of the most difficult tunes. Sonia Prina’s contralto is heard to lovely effect in Mary Cleophas’s pastoral music. The work’s striking opening aria belongs to the Angel, taken here with plenty of presence by Swedish soprano Camilla Tilling. Two British singers complete the line-up and both give of their very best. Toby Spence is elegant in St John the Evangelist’s music, and Kate Royal finds sumptuous beauty and emotional depth in the part of Mary Magdalene.