After years in the musical wilderness, Handel’s operatic retelling of the story of Caesar and Cleopatra has been enjoying something of a renaissance, most notably in Glyndebourne’s recent revival. The Oxford Singers’ concert version at St Michael at the Northgate last weekend was a brave attempt to capture the drama of this powerful piece, with its rich mixture of comedy, pathos and tragedy – a difficult task when you are clutching a rather hefty score, and the conductor is placed so far to your left that subtle glances at his baton are well-nigh impossible.

But this talented group of singers coped well with the demands made of them, infusing the work with well-sustained energy and passion. The minimal staging allowed the score to radiate through with exceptional clarity – and it certainly is a score worth hearing. Handel appears to have poured some of his loveliest melodies and finest orchestral texturing into what many consider to be the peak of his operatic achievements, and in this production the singers and chamber-sized orchestra, conducted with precision by David Crown, showed an outstanding sensitivity to the subtlety and elegance of the music.

Alexandra Vinall’s impish Cleopatra was perhaps the most notable performance of the evening, her voice consistently beautiful and technically secure, and her winsome seduction of Caesar a delight. Liza Graham gave a solid and dependable performance as Caesar, her characterisation veering deftly between smitten lover and heroic warrior. Elizabeth Deacon was full of heart-wrenching angst as Cornelia, the grieving widow of the slaughtered Pompey, collapsing realistically at the sight of her husband’s severed head and singing with emotional intensity. Katherine Cooper was full of convincing anger as Cornelia’s impulsive son, Sesto, and her thrilling mezzo-soprano was a joy. There were strong performances, too, from James Potter as the odious Tolomeo and Will Dawes as the devious Achilles, and from Tristan Mitchard and Russell Durkin as Nireno and Curio.