(Photo: Alciro Theodoro da Silva) As the final opera of George Frideric Händel, “Deidamia” (1741) has long occupied a minor space in the composer’s canon. Often viewed as a weary departure from the high-octane heroism of his Royal Academy years—a view infamously codified by Winton Dean’s somewhat dismissive assessment of Händel’s operatic swan song—the work, as the core production of {…}