Skip to main content
Getting a Handel on plague music
DAVID YEARSLEY reflects on how the work of the great 18th-century composer resonates at a time of pandemic
BRILLIANT OPPORTUNIST: George Frideric Handel, portrait attributed to Balthasar Denner

WERE George Frideric Handel to be beamed back to Earth from the celestial realm he has inhabited since his death two-and-a-half centuries ago, he would soon have a Netflix hit and scores of viral YouTube videos with a host of marketing tie-ins — from organ pe(da)loton work-out regimens to a line of prophylactic powdered wigs so fashion-backward they’re actually fashion-forward.

Handel was a musical entrepreneur and entertainment was his business. Ultimately it made him rich, though there were ups and downs. Handel’s England was a modern place, with its stock schemes, real-estate deals, overseas ventures, wars, coffee houses, love of leisure and spectacle, free-wheeling journalism, fake news, a gin craze and an ice-cream parlour, the Pot and Pineapple.

There was much talk of liberty, its perquisites built on the enslavement of Africans. The plagues that devastated London in the 17th century and which we’ve been hearing much about during the present pandemic seemed sequestered in the past.

The 95th Anniversary Appeal
Support the Morning Star
You have reached the free limit.
Subscribe to continue reading.
Similar stories
ENERGY AND EBULLIENCE: Cast of The Flying Dutchman / Pic: Craig Fuller
Opera / 19 April 2026
19 April 2026

DAVID NICHOLSON recommends the staging of this Wagnerian classic minus one or two insignificant quibbles

Arin Keshishi Quintet on stage / Pic: Artstage
Culture / 24 November 2025
24 November 2025

As part of the 2025 London Jazz Festival Rich Mix offered intriguing sessions titled 'Persian Jazz,' CHRIS SEARLE was there

cyrano
Theatre review / 8 October 2025
8 October 2025

GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship

tosca
Opera review / 17 September 2025
17 September 2025

DAVID NICHOLSON is thrilled – and shocked – by an opera that seethes and sizzles with passion and the depraved use of power