The outer acts do not have the bonus of narrative drama, so Handel finds other means to give them energy and direction. He clearly benefited from larger forces than usual, which enabled him to write for double chorus, five-part chorus and single chorus. The orchestra is generously furnished with both horns and trumpets (the brass held in abeyance until Act 2) and the strings allow for a doubled viola line and some detailed differentiation between tutti and smaller forces. The magnificent spatial effects, evident from the very first chorus, must have recalled the coronation anthems that Handel provided for Charles II in 1727, particularly given the prominence given to Zadok as Solomon’s chief advisor.

Act 3 is likewise without much narrative content, beyond the fact that the Queen of Sheba visits from afar (heralded by what is now by far the most familiar music from Solomon). But Handel has Solomon present to her (and to us) an extensive masque in honour of music, building on the popularity of his earlier tributes to the power of music, Alexander’s Feast, and Ode for St Cecilia’s Day.

Solomon’s composition and first performances are intriguing in relation to the role of women. First, Handel’s autograph refers to the women of Act 2 as ‘women’ rather than the biblical ‘harlots’. Secondly, his choices for the main leads were entirely female: the role of Solomon was sung by the popular Italian mezzo soprano, Caterina Galli, and all three of the virtuous women – ie Solomon’s Egyptian wife, 1st woman/harlot, Queen of Sheba – were sung by another successful Italian, the soprano Giulia Frasi. Although it’s difficult to argue that Handel intended this presentation to bolster the rights and talents of women, that is certainly a sense that can be gained today. Galli was, nonetheless, well known for undertaking trouser roles and swapping of genders had been commonplace in Italian opera for over a century. Using the same soprano for the three female roles elicits no obvious explanation. It certainly gives the three acts a sonic consistency that is remote from opera, but it is likely the actual performative power of Frasi that was the most important thing, perhaps a suggestion that the virtuosity and versatility of a singer is a model for the sorts of varied roles we might all take in social life. Indeed, an inference that can be drawn from the entire oratorio is that learning the skills of performance enhance all our activity and that music enhances our polity, and becomes a model for neighbours near and far. The second chorus exhorts us to resound our maker’s name ‘till distant nations catch the song’. 

---

John Butt directs Handel’s Solomon at the Southbank Centre’s Queen Elizabeth Hall on Sunday 12 October as the opening concert of our 2025/26 season, Fantastic Symphonies.