Joseph addison

Handel was derided in his own time – particularly by us, for which belated apologies

Here’s a patriotic thought for you: baroque opera, as we now know it, was made in Britain. Sure, there are your Vivaldis and Cavallis; there’s always someone (usually French) trying to make Rameau stick and a few years back Opera North – bless them – even tried to exhume an opera by Reinhard Keiser. But realistically, if you’re going to see a pre-Mozart opera from a major company anywhere in the world, and it’s not by Monteverdi, it’s overwhelmingly likely to be by Purcell or Handel. And Handel wrote practically all of his surviving operas in London, for British audiences and British taste. So it’s only right that UK opera

Sugared with wit: How ‘Mr Spectator’ came to life

The Spectator is a child of the 19th century, and damned proud of it. First published in 1828, the link provided by its 10,000 issues to a long-vanished age of Regency waistlines and Romantic poets is one of the great wonders of journalism. Its success was built upon Victorian foundations, yet it is a peculiarity of the current media landscape that The Spectator, the only current affairs magazine actually to have been published in the 19th century, should in many ways seem the least Victorian of the lot. The New Statesman, Prospect, Standpoint: all have a certain quality of moral earnestness that one could imagine Gladstone admiring. The Spectator, by