Whose opera is it anyway?
Disguises and mistaken identities are a staple of opera, but usually as part of the onstage, not the offstage, action. So what are we to make this week of a Handel opera that isn’t by Handel at all, and a Mozart opera that was largely composed in 1990? As usual in the opera house, there are good — if complicated — explanations. Every year the London Handel Festival tests the theory that forgotten operas are forgotten for a reason, rooting around the darkest corners of the composer’s output to find some abstruse treasures for their audience. This year they’ve outdone themselves, with a performance by Opera Settecento of Elpidia —