George Frideric Handel’s glorious music and surprisingly relevant drama reemerged as a site-specific, cinematically driven, wildly raucous contemporary party. A story of ill-fated romance, long-lost familial relationships, and conquerors and their captors, LBO’s GIUSTINO elevated the ambiguities of gender already present in baroque opera and examined how stereotypes can be shattered even in the most traditional stories. Darrah’s breakthrough stylistic hybrid of cinema-theater recontextualized the salon-like qualities of Handel’s 18th-century work to a transitory, temporal space, further challenging the current norms of 21st-century classical music consumption.