Director of Handel in the Theatre, Tobias Cole, is passionate about including his audience in his opera productions. "I want a seamless connection between the performers and the audience," he says as he talks about encouraging opera lovers to come to free rehearsals in the foyer of the National Portrait Gallery in the months before the two fully staged performances of Handel's opera, Esther, at the Canberra Playhouse in October.

"At the rehearsals in the Gallery Hall at the NPG you'll be able to watch an energised group of Canberra performers taking the opera from book to stage," Cole says.

"You'll be able to see how it gets there and you'll become familiar with the cast. The rehearsals last for two hours and those watching can walk in and out as they wish."

Cole will introduce each of the fully staged performances at the Playhouse with a short narrated preface to the story. He will also present the company to the audience.

"What I'm really relishing is making the story very clear," he says.

"With Handel you need pre-knowledge.

"And another exciting thing: This year we're going to invite people to form a balcony chorus and they'll be able to join in the two Coronation Anthems that are part of the 1732 revision of Esther: My Heart is Inditing and Zadok the Priest."

This year this chorus will not be auditioned and will include Cole's young vocal group, Vocal Fry, but next year chorus aspirants will be auditioned and they will sing much more – perhaps eight choruses.

"We're trying to build up a network of supporters who want to participate and come on the journey with us," Cole says.

"The best way to appreciate Handel is to sing him."

Handel's Esther began life in 1718 as a masque or chamber drama. It is uncertain who wrote the libretto and the work, revised in 1720, was in six scenes and written for a soprano, an alto, two tenors and two basses who came together as an ensemble when necessary. Handel's Coronation Anthems, written for the coronation of George II in 1727, were so successful that it was decided to include two of them in later performances of Esther. "The music will be disposed after the manner of the Coronation Service" proclaimed the advertising handbills for the 1732 performance.

The story of Esther is a powerful one in which Esther, the beautiful second wife of the Persian king, Ahasuerus, appeals to her husband to save the life of Mordecai, his adviser, who has been condemned to death by the prime minister, Haman. Esther herself reveals her Jewish origins as she pleads with her husband to reverse Haman's order to exterminate all Jews throughout the Persian empire.

Soprano Janet Todd, who has performed roles with Opera Australia and Pinchgut Opera, will take the part of the virtuous wife, Esther, and sing the noted opening arioso, Breathe soft ye gales. Cole will sing the alto role of Esther's husband, Ahasuerus, King of Persia. Contralto, Sally-Anne Russell will play the trouser role of the king's adviser, Mordecai, and bass David Greco will play the prime minister, Haman. Sopranos Keren Dalzell and Alison Robertson will play two Israelite women.

"Alison is just back from studying opera in London," Cole says, "and Keren performed with Canberra Opera earlier this year in Die Fledermaus. It's wonderful to give these trained singers opportunities."

There will be an on-stage chorus of 12. All performers, including Cole's son, Marcel, who is in his final school year and hopes to pursue a career in dancing, will be in costume and moving and acting.

The orchestra will again be directed by Brett Weymark – "his fifth production for me," Cole says.

"The orchestra, led by Bianca Porcheddu, and made up of 11 musicians of whom only three are being brought from interstate, will be in a different position too. The first and second rows of seats in the Playhouse will be removed and the pit can be raised or lowered. It will be a much more pleasant sound from the orchestra."

Belynda Buck will choreograph, Imogen Keene will be the design consultant and Cynthia Jolley-Rogers will design the lighting.

"These are all people that I've worked with before and we've developed an understanding so that we've become braver and take more risks. We're learning from it all," Cole says.

"I feel that we're going to ignite some really keen interest in this work."