Haendel’s music has been a source of inspiration for a number of contemporary choreographers. From Messiah (choreographed by Mauricio Wainrot) to Terpsichore (choreographed by Béatrice Massin), including Robyn Orlin’s and Mark Morris’s respective transcriptions of L’Allegro, il Moderato e il Penseroso, Haendel’s works have set the stage for a variety of reflections on human nature and passions. This paper aims at investigating how the echoing visionary power of the original musical works is enhanced by these new creations.
