Four more performances of _Acis and Galatea_ were given at the opera-house
in December 1732; Handel evidently saw that it would be a sure attraction.
_Alessandro_ and _Tolomeo_ were revived, and on January 23 he produced a
new opera, _Orlando_, which had ten performances, with six more later in
the season. _Orlando_ is one of Handel's most original operas; he seems
always to have derived a peculiar inspiration from the poems of Tasso and
Ariosto, as in the case of _Rinaldo_. _Orlando_ is a thoroughly romantic
opera--Chrysander even compares it with those of Weber--full of episodes of
madness and magic; it is so far removed from the ordinary conventions of
its time that we can well imagine it to have startled both its audiences
and its singers.

The affairs of the opera-house were going badly, and it is probable that
there were considerable dissension within its walls. It is certain that
relations between Handel and Senesino were becoming more and more strained;
_Orlando_ was the last opera of Handel's in which he sang. It seems fairly
certain also that Heidegger was none too loyal as a partner. Heidegger was
in a strong position, for he was the actual owner of the stock of scenery
and other appurtenances taken over from the original Academy. He seems to
have lent the theatre to Buononcini for some performances of _Griselda_,
and, when the lease came to an end, it was Heidegger who left Handel in the
lurch and allowed a rival organisation to secure it.

There was, too, a further reason for the general hostility against Handel.
Encouraged by the success of _Acis and Galatea_, he had composed a new
oratorio, _Deborah_, which was performed at the opera-house on March 17,
by the King's command. For this work prices were doubled; tickets were a
guinea each, and admission to the gallery half a guinea, instead of five
shillings. At the second performance the normal prices were charged. The
raising of prices for an extraordinary performance might well seem nothing