Premiered in 1725 and given its first modern outing by Opera Settecento at this year’s London Handel festival, Elpidia, or The Generous Rivals, is one of Handel’s pasticcios. It is a work which the composer, in his role as entrepreneur, assembled from pre-existing music – in this case mostly from arias by Leonardo Vinci and Giuseppe Maria Orlandini. Though frowned on by later generations, the practice was common in the 18th century and occasionally resulted in some strikingly successful music theatre.

Elpidia is set in 6th century Ravenna during the war between the Byzantine forces under Belisario and the Goths led by King Vitige. The “generous rivals” in the title refers to the friends Olindo and Ormonte. Both in love with Elpidia, Queen of Puglia, and each willing to give her up for the sake of the other, they are different from Vitige, who also desires her but is prepared to use underhand means to win her over. The concocted score combines heady beauty with some fine psychological insights. Olindo’s hauteur contrasts nicely with Ormonte’s gentleness. Vitige, in particular, is superbly characterised as a man capable of sincere affection and dangerous anger.

Conducted by Leo Duarte, Opera Settecento performed it with their customary style and commitment. There was some magnificent singing, though Ormonte lies fractionally low for Joe Bolger, and Chris Jacklin had little chance to shine in the thankless role of Belisario. Erica Eloff, on the other hand, rose to the challenges of the taxing title role with superb virtuosity and tonal beauty. Eloff is very much emerging as a singer to watch out for, as are Rupert Charlesworth – thrillingly authoritative and charismatic as Vitige – and Rupert Enticknap as the commanding, technically accomplished Olindo. Maria Ostrouhkova sounded very voluptuous as Vitige’s daughter Rosmilda, who is hopelessly in love with Ormonte across enemy lines.