In 1739 when Handel first performed his oratorio Saul, the depiction of biblical life on an opera stage did not sit well with a strongly protestant culture. The oratorio format was the only possible route to commercial success for biblical themes. The by-product of this difficulty has fortunately left us with an oratorio of operatic proportion, full of sublime music and a libretto serving strong doses of intrigue, family breakdown, sexual infatuation, jealousy and mental breakdown.

No wonder Australian born director Barrie Kosky accepted Glyndebourne’s invitation to stage this work as an opera. The production is a triumph. Nearly every aspect of his creative vision grabs audience attention and the musical part of the partnership, under the baton of conductor Ivor Bolton, is world class. Kosky once said that when he goes to the theatre himself he wants to be surprised, bewildered, shocked and transformed. Any member of the Glyndebourne audience will testify to having run the gamut of these emotions while watching Saul.

Michal (Sophie Bevan) and David (Iestyn Davies) with Chorus © Bill Cooper

The problem for any director breathing stage life into a concert piece...