Anyone who emerged from the Royal Opera's recent production of Tamerlano with their faith in Handel dented would have found it restored by this wonderful concert, in which Rosemary Joshua and Sarah Connolly sang arias and duets from his operas and oratorios with the English Concert and Harry Bicket.

They are all fabulous Handel interpreters. Joshua's blazing tone contrasts with Connolly's altogether darker sound, yet their two voices blend together stunningly. Each has a remarkable if restrained way with words – more important in this music than you might think. Directed from the harpsichord with precision by Bicket, the English Concert have a marvellously acute understanding of Handelian sensuousness.

Operatic scenes came first. Connolly was implacable in one of Agrippina's murderous soliloquies and dazzling in Ariodante's Dopo Notte: Joshua was alluring as Agrippina's nemesis Poppea, and heartbreaking in Ginevra's lament at Ariodante's desertion. Then they tackled the lovers' big duet of reconciliation, spinning out their harmonised coloratura with heady perfection. Extracts from Solomon and Theodora followed the interval. Joshua's sensual Queen of Sheba preceded Theodora's When Sunk in Anguish and Despair, a powerful expression of faith, sung with huge dignity and assertion. Connolly gave us a rapt performance of Irene's As With Rosy Steps the Morn, also from Theodora, before changing roles to Didimus for the great duets in which the persecuted lovers face martyrdom.

It was bliss from start to finish. Any chance we could have the pair of them in a complete work – Theodora, preferably – with Bicket conducting?

Tim Ashley