Contents: Introduction; Part I Biographical Aspects: Mythistorica Handeliana, Charles Cudworth; Organ playing in the Lateran and other remembrances on Handel: a report in the Voiage Historique of 1737, Ursula Kirkendale; Handel and the feuding royals, Thomas McGeary; Handel's art collection, Alison Meyric Hughes and Martin Royalton-Kisch; Joseph Goupy and George Frideric Handel: from professional triumphs to personal estrangement, Ellen T. Harris; Handel's ill health: documents and diagnoses, David Hunter. Part II Handel and the Opera House: Handel's Haymarket Theater, Mark W. Stahura; Box office reports for five operas mounted by Handel in London, 1732-1734, Judith Milhous and Robert D. Hume; Handel's 1736 performances of Ariodante, Donald Burrows. Part III Case Studies of Handel's Compositions: Benedetto Pamphilj as librettist: Mary Magdalene and the harmony of the spheres in Handel's Il trionfo del Tempo e del Disinganno, Huub van der Linden; Psychological realism in Il trionfo del Tempo e del Disinganno, Ruth Smith; A newly discovered Water Music source, Terence Best; Handel and the confus’d shepherdess: a case study of stylistic eclecticism, Graham Cummings; Handel, Jennens and Saul: aspects of a collaboration, Anthony Hicks; From Milton to Handel: the transformation of Milton's L'Allegro and Il Penseroso into a musical work for concert performance in the London theatres, Donald Burrows; Some thoughts on musical organization in L'Allegro il Penseroso ed il Moderato, Graydon Beeks. Part IV Handel's Performers: The unpublished Senesino, Elisabetta Avanzati; From Rinaldo to Orlando, or Senesino's path to madness, Melania Bucciarelli; Francesca Cuzzoni and Faustina Bordoni: the rival queens?, Suzana OgrajenA¡ek; Marie Salle as muse: Handel's music for mime, Sarah McCleave; John Beard: the tenor voice that inspired Handel, Neil Jenkins. Part V Librettists: Handel's relations with the librettists of his operas, Winton Dean; The achievements of Charles Jennens (1