The soloists struggled to present their characters with varying effect. Surprisingly, Athalia does not have a great deal of stage time, but whenever Emma Pearson swept on to the stage the dramatic temperature rose. Vocally, the part held no problems for her technically and she gave a superb account of her show-stopping aria 'My vengeance awakes me'. She even managed to find some vulnerability in this monstrous woman. Like Pearson, Brenton Spiteri is a true stage animal; he made much of the rather thankless role of Mathan, Athalia’s attendant, here promoted to her lover. His lean, agile tenor and superb diction were heard to great effect in the beautiful 'Gentle airs, melodious strains'. His final despairing aria 'Hark His Thunders Round Me Roll', was a dramatic as well as vocal highlight.

 Emma Pearson in the title role of Pinchgut Opera's Athalia (photograph by Robert Catto)

Villainy usually plays better on the stage than goodness, and that was the case here. Until the moment near the end of the oratorio when, surprisingly, she struck Mathan, Miriam Allan’s Josabeth came across as rather bland. Josabeth, wife of the Christian high priest Joad and protector of the rightful heir, Joas, is the voice of decency and piety, and though those virtues are admirable they are not necessarily exciting. Josabeth is, however, a strong, determined woman who is prepared to stand up to Athalia in defence of Joas, but little of this came across in Allan’s performance. Vocally she sounded fine in her lower registers, but her top became shrill under pressure. She was at her best in the duet with Joad, 'Cease thy anguish. Smile once more'.

Joad is barely developed as a character at all. Countertenor Clint van der Linde relied on his natural presence and fine voice to make an impression. He conveyed the anguish of the defeated Christian leader in two beautiful arias 'Oh Lord Whom We Adore' and 'Jerusalem Thou Shalt No More'.

David Greco’s Abner was much stronger dramatically. Although he is captain of Athalia’s guards, Abner is supportive of the Christians. Greco was rousing in his first aria 'When Storms the Proud to Terror Doom' and, at the conclusion, moving in his recognition of his ‘honour’d Lord’.

The treble Freddy Shaw as the young monarch handled his role with aplomb.

The orchestral playing has always been one of Pinchgut’s strongest suits, and under Erin Helyard’s alert responsive leadership this proved once more to be the case.

 The cast of Pinchgut Opera's Athalia (photograph by Alex Smiles)

One of the strengths of Athalia are Handel’s superb choruses, and they were in the hands of the undoubted stars of the evening, that magnificent collection of singers, Cantillation. Hume had them whirling around the stage, at one moment clustered together in fear, at another arms raised in Peter Sellars-like semaphore. Whatever they were doing, nothing affected their sound. Their Hallelujahs which ended the first act, and their triumphant final chorus, 'Give Glory to His Awful Name', were simply overwhelming.

Athalia (Pinchgut Opera) continues at the City Recital Hall, Sydney, until 26 June 2018. Performance attended: 21 June.

ABR Arts is generously supported by The Ian Potter Foundation and the ABR Patrons.