Tobias Cole's production of Esther was a dazzling spectacle of glorious costumes and sets in striking colour harmonies of blue and orange. This latest production represents a further step forward in Handel in the Theatre's plan to present a Handel oratorio each year.

Decisively grasping the problem of what to do with a cast singing lengthy choral passages for a contemporary audience, choreographer Belynda Buck introduced gestures for the chorus and soloists. These movement patterns blended organically with the libretto to increase the power of the performance. The chorus put their heart and soul into the dramatic representations of grief, terror and finally triumphant salvation.

Vibrant baritone David Greco, as Haman, nearly stole the show with his splendidly evil aria, Pluck root and branch, closely matched by the beautiful duet Who calls my parting soul from death?, sung commandingly by Esther (the charismatic Janet Todd) and the King of Persia (the indefatigable Tobias Cole). Sally-Anne Russell's (as Mordecai) duet, Blessing Descends with Israelite Karen Dalzell was a memorable blending of two fine voices.

The orchestra under the baton of Brett Weymark and leadership of Bianca Porcheddu provided appropriately delicate accompaniment with dazzling moments; strongest in the first half. While the entry in the second half of the trumpets and the chorus in the gallery was dramatic, it would have been fairer to the musicians to have them appear from the wings to ensure their communication with the stage and pit musicians. Still, few would not have experienced a spine-tingling sensation as the glorious trumpet sounded out in the Coronation anthem.

Musical directors have puzzled over how best to present the oratorios from the time of their composition, because, as Hugo Leichtentritt observed, they "are not ecclesiastical music, but grandiose dramas…they do not deal with a mere theatrical plot....but are rather concerned with whole nations in their relation to the divine laws, with events of national, even worldwide importance".

In his program notes, Cole acknowledged these universal themes. The potentially tragic problem in the oratorio, is Esther's decision to disobey the King she loves by approaching him without invitation, thus risking her life to save her people – the Jews – from the King's decree that all must be slaughtered. While Cole's production articulated the importance of Esther's sacrifice, I'm not sure that an appropriately serious dramatic tone was maintained throughout. As the King of Persia, Cole adopted a detached dramatic style but inserted comic nuances. The audience was uncertain how to react, especially as the chorus gave such a strong, naturalistic performance.

That said, Cole's 2017 Esther resonates after the curtain has come down, ensuring that the music of Handel is heard, energetically discussed and enjoyed by contemporary Canberra audiences.