“An oratorio full of powerful emotions”, was the announcement in the local newspaper. And indeed it was: on 17 March 1762, shortly before Easter, Hamburg discovered Der Tag des Gerichts, one of Telemanns most impressive works. Towards the end of his career, the composer developed an admirable ability to incorporate the new, Classical style into his Baroque music. The lyrical libretto about the fight between believers and unbelievers offers drama aplenty, and is packed with evocative images that are crying out for the most beautiful and astonishing effects. This is music located emphatically on the very border between religious oratorio and theatrical opera.