George Frideric Handel’s oratorio La Bellezza ravveduta (1707) and its two later reworkings, Il trionfo del Tempo e della Verità (1737) and The Triumph of Time and Truth (1757), differ in musical content and in how the allegorical characters are coded in terms of gender. A comparative analysis showcases their wide interpretative range in selected twenty-first-century stagings.
Ivan Ćurković (Thu,) studied this question.