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The purpose of the article to identify the place and role of Handel'sarias in two types of contemporary academic performing practice:vocalists and bandura singers, by analyzing the actual concert and trainingrepertoire. The series methods of this study are based on the application ofperforming and comparative analysis that allows us to considerinterpretations of Handel's works. Particular attention is paid to methods ofempirical nature, namely the interview, which helps to summarize theissues of this topic of the article. The scientific novelty of the article is toreveal the peculiarities of using the arias of Handel, relevant tocontemporary concert vocal and bandura art, which have not yet appearedas research material. Conclusions. The analysis of Handel's popular ariasby well-known singers of today and the tendency of their interpretations inbandura creativity indicate that these compositions are very useful andconvenient from the point of view of developing not only stage stamina,stylistic conformity, but also the musical thinking and creative skills of theperformers. The vocalist, who sings by the accompaniment, has theopportunity to concentrate on the technology of vocal performance, theembodiment of imaginative content of the composition, artistry, while thebandura singer develops polyphonic thinking when performing thecomposition, following the development of each line. In this aspect, it isworth noting that the practice of using bandura-singer Handel’s arias inconcert activities implies the experience of his own instrumentalaccompaniment, which develops the skills of controlling the sound balanceof vocal and instrumental parts and practice of editing and arrangingmusical text.

G.F. Handel’s arias in the academic repertoire of the modern singer (performance aspects)