How far the ENO have come. It is less than four years ago that I saw Handel’s Radamisto at the ENO with a woman singing the castrato role and very static staging. How much better it is now that the importance of the counter tenor has been recognised. This showed up most dramatically in the Act II duet between Iestyn Davies as Bertarido and Rebecca Evans as his wife Rodelinda. His counter tenor and her soprano may have been similar in vocal range but they sounded as different as woodwind and string instruments, creating the most wonderful highlight of the opera. The staging was good too, with good acting from the six singers and one actor who somehow filled the stage and made me forget how few singers there are in most opera seria, although the direction was perhaps a little more tongue in cheek than the heacy plot deserved. Also many thanks for Christian Curnyn who I have now seen conducting four baroque operas at the Coliseum. He currently seems unsurpassably good in this area. My only minor grumble is that, having found how good it was to raise the orchestra pit for Castor and Pollux, why has it not become standard for all their baroque operas?