Both Acis and Galatea and the cantata Sarei troppo felice heard here represent decisive turning points in Handel’s career. The Italian cantata came at the beginning of the one and half decades spent by Handel in the service of various patrons. Acis and Galatea marks the highpoint of this phase and therefore, like the cantata before it, clearly renders recognizable the musical means available to him in the private ensembles of his employers. Moreover, Acis and Galatea contains the musical and textual seeds of the English oratorio, which after 1742 completely supplanted opera compositions.
The cantata is sung by Amanda Forsythe.
“The musical direction of Paul O'Dette and Stephen Stubbs strikes an intelligent balance between sheer delectability and the astute dramatisation of moods...The band of 10 instrumentalists produces playing of sensational quality, personality and versatility according to each rhetorical affect Handel's music generates.” Gramophone