Yet what a treasury of glorious music Handel was pouring out with incalculable lavishness during these agitated years! Let us mention in passing a few of the new operas as they came and went: “Ezio”, “Orlando”, “Il Pastor Fido”, “Ariodante”, “Alcina”, “Arminio”, “Berenice”, “Faramondo”, “Serse”. The last-named calls for a word by itself. “Xerxes” has nothing to do with the Persian ruler of antiquity. It is a comic opera, Handel’s first and only one, which stands up extraordinarily well under modern stylized conditions of revival, apart from which it contains possibly one of the most universally beloved melodies that Handel ever wrote. This melody, heard at the very opening of the piece, appears in the score as a _larghetto_ to the words “Ombra mai fu”, a song of gratitude to a plane tree for its beneficent shade. But for generations it has been slowed from the pace originally prescribed to a solemn, swelling hymn known to uncounted millions as “Handel’s Largo.” And far more know it as a churchly canticle than its lightly moving operatic context. Almost every one of this mass of operas, furthermore, is charged with grand arias of all the emotional varieties common to its epoch—gems enshrined in practically every one of the great anthologies of the 18th Century song. It was not till 1741 that Handel concluded his period of operatic creativity with “Deidamia”, written to a libretto by Paolo Rolli. London’s taste for opera had, during more than a decade shown continued fluctuation. But in 1731 a new situation brought about an event that was to provoke a development of capital importance for Handel’s future. The children of the Chapel Royal presented in a private performance his masque, “Esther”, on the composer’s birthday. The success of the performance was such that it resulted in others, one of which was given without Handel’s consent by one of his rivals. The master was equal to the occasion. He added some numbers to the score and gave half a dozen representations at the King’s Theatre; but as a Biblical subject could not be acted on the stage the masque was given in concert form, in the presence of the royal family and of High Society. The Handelian oratorio had more or less come into being! * * *