Israel in Egypt, HWV 54, is a biblical oratorio by the composer George Frideric Handel. Most scholars believe the libretto was prepared by Charles Jennens, who also compiled the biblical texts for Handel's Messiah. It is composed entirely of selected passages from the Old Testament, mainly from Exodus and the Psalms. Israel in Egypt premiered at London's King's Theatre in the Haymarket on April 4, 1739 with Élisabeth Duparc "La Francesina", William Savage, John Beard (tenor), Turner Robinson, Gustavus Waltz, and Thomas Reinhold. Handel started it soon after the opera season at King's Theatre was cancelled for lack of subscribers. The oratorio was not well received by the first audience though commended in the Daily Post; the second performance was shortened, the mainly choral work now augmented with Italian-style arias. The first version of the piece is in three parts rather than two, the first part more famous as "The ways of Zion do mourn", with altered text as "The sons of Israel do mourn" lamenting the death of Joseph. This section precedes the Exodus, which in the three-part version is Part II rather than Part I. Background Handel had long been resident in London and had enjoyed great success as a composer of Italian operas there. However, in 1733 a rival opera company to Handel's, The Opera of the Nobility, had split the audience for Italian opera in London. There was not enough support for two Italian opera companies and Handel began to find new audiences through presenting oratorio and other choral works in English. Handel's oratorio Saul, with a text by Charles Jennens, was presented at the King's Theatre in January 1739, and for the same season Handel composed Israel in Egypt, writing the music in one month between 1 October and 1 November 1738. Israel in Egypt is one of only two oratorios by Handel with a text compiled from verses from the Bible, the other being Messiah. The librettist of Israel in Egypt is uncertain, but most scholars believe Charles Jennens compiled both texts. Israel in Egypt and Messiah also share the unusual characteristic among Handel oratorios in that, unlike the others, they do not have casts of named characters singing dialogue and performing an unstaged drama, but contain many choruses set to biblical texts. In composing Israel in Egypt, in what was by then his common practice, Handel recycled music from his own previous compositions