Apparently, one cannot appreciate Bach and Handel at the same time. Those who see the two as "forgotten master" vs. "social climber – man of the world" juxtaposition,may find Giulio Cesare in Egitto a particular affront. Handel's opera enjoyed instant triumph and lasting recognition, which even the early music movement so conspicuous in recent decades has not been able to diminish. Despite all discoveries, despite our much better knowledge of Baroque opera in comparison to this of old audiences, it is still Giulio Cesare that remains the embodiment of its era. Perhaps, the reason is Handel's particular musical internationalism, his ability to combine the patterns of German, French, English, and, most importantly, Italian musical theatre to form a convincing and consistent whole. Combined with interest in the great variety of European music, this ability binds him, above all, with… Bach. Thus, Giulio Cesare is not only a unique encyclopaedia of Baroque opera, but also one of the works in which Handel built his own—naturally, different from Bach's—version of a great transnational synthesis. Without exaggeration, one can say that one hundred and fifty years of European musical theatre has contributed to the fineness of this opera.