Handel experts differ as to whether his 1749 oratorio celebrating the peace and prosperity of the Israelite kingdom under a ruler of legendary wisdom was intended to hold up a flattering mirror to England under George II, but Solomon's significance is in any case far greater than any contemporary reference. Though less dramatic than many of Handel's other sacred oratorios - its only scene with real theatrical potential is the famous dispute of the two harlots over the baby one has stolen from the other - it demonstrates a grand musical vision as Handel presents the splendour of the newly built Temple, Solomon's erotically charged marriage, his justice, and the confidence and contentment of his people as observed by his guest, the Queen of Sheba.

Using a double chorus divided into eight parts instead of the usual four, Handel was also able to hymn Solomon's achievements in music of unusual colour and magnificence. In this performance under the direction of René Jacobs, English Voices made a vital contribution to its overall sonic richness, as did the Orchestra of the Age of Enlightenment, who were on focused and articulate form.

The soloists were a choice group. The young Australian counter-tenor David Hansen displayed Solomon's self-assurance with eloquent diction and firm tone. Malin Christensson, as his wife, revealed the sensual side of the royal marriage, and then swapped roles for the confrontation of the harlots in which she personified the real and eventually vindicated mother. Marie Arnet defined the shriller personality of her false rival before turning on the charm as the Queen of Sheba. In smaller roles, tenor Jeremy Ovenden and bass Henry Waddington both sang with distinction.

But above all it was through the flexibility of Jacobs's direction - with tempos perfectly judged ensuring the monumental work kept moving on the lightest of toes - that the score radiated a delicate yet discernible glow.