Even for the most enthusiastic Handelian, his opera Amadigi is an exotic rarity. It was first performed in London in 1715, and played for the next couple of seasons, but was not heard again for more than 200 years.

The Northern Sinfonia's concert performance, conducted by Rinaldo Alessandrini, revealed a genuine case of unjust neglect: the opera contains some dazzlingly inventive music worthy of anything in Handel's more famous operas.

One of Handel's "magic" operas, the plot is a fantastical tale of love and sorcery, as Amadigi's love for Oriana is thwarted at every turn by the evil ministrations of the witch Melissa and the jealousy of his rival Dardano, but true love is finally victorious after Amadigi kills Dardano, and Melissa kills herself.

All four roles are cast for high voices, originally women and castrati, and sung by an all-female cast in the Northern Sinfonia's performance. Sarah Connolly and Elizabeth Donovan were the two lovers - their arias at the beginning of act two were definitely a highlight. Connolly's Amadigi looked into the enchanted pool of love in her aria, depicted by Handel's luminous, flowing music, before the shock of seeing Oriana with Dardano. Believing that Amadigi has died, Oriana's aria was sensuous and melancholy in Donovan's performance.

Anna Burford's Dardano had one of the most original arias in the work: a bizarre, leaping string line over a droning, bagpipe-like sound. Melissa's showstopping number at the end of act two was grandiose and virtuosic in Catherine Naglestad'sperformance, but her portrayal of the role was unconvincing, missing Melissa's malevolent fury. Alessandrini's direction was blustery and energetic, but often lumpen and graceless, yet the Northern Sinfonia players produced some refined, elegant playing.