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Was gibt es Schöneres als Musik, die tiefempfundene Funken in unserer Seele zum Leuchten bringt?!

Vor seinem Auftritt in Händel's Oper Orlando beim Barokkfest Trondheim haben wir mit dem Countertenor Max Emanuel Cenčić gesprochen.

Lute player and guitarist Élodie Brzustowski talks about the challenges of the two-metre long theorbo, rediscovering guitar music of the 1830s, and the multifaceted Early music scene in France.

The British countertenor, who’s riding the crest of a wave this year, talks about his passion for good storytelling in opera, his favourite roles and the art of Zen Buddhism.

From fulfilling funerary functions, to eulogising friends and fellow artists, or lamenting the waste of war: here are some of the finest examples of music written in mourning.

Ahead of his debut recital at Carnegie Hall, the British pianist talks about finding common connections in a breadth of repertoire – from Handel to Schumann and Ligeti to Gabriela Lena Frank.

One of the longest-running choral organisations in the UK, director Stephen Doughty talks about how the RSNO Chorus now boasts a panoply of other community choruses under its umbrella.

著名な指揮者、リコーダー、コルネット奏者の濱田芳通氏が、バロック音楽とオペラへの取り組み、そして16世紀にヨーロッパの音楽が日本にどのように伝わったかに関する研究について語ります。

Acclaimed conductor, recorder and cornett player Yoshimichi Hamada talks about his fascination with Baroque music and opera, and his excavations into how European music entered Japan in the 16th century.

George Frideric Handel was quite the cosmopolitan composer, travelling from Germany to Italy and London, where he eventually settled, becoming a naturalised British citizen and court composer for the big ceremonial occasions. 

Handel’s great oratorio has been through countless versions and transformations. Marin Alsop speaks about the 30th anniversary of her arrangement, which transforms Messiah into an infectious gospel ceremony.

We take a look at some of the most important composers who wrote music for this fascinating instrument.

From emperors and empresses to nymphs, gods and giants by way of faithful wives, sorceresses, knights, dastardly noblemen and dazzling coloratura arias, here's your guide to the master showman of Baroque opera.

As Concerto Copenhagen prepare a tour of Handel's unusual work, Artistic Director Lars Ulrik Mortensen tells us why he thinks it is unjustly neglected. 

Handel lived in London for most of his adult life, becoming the leading musical figure in the city. Handel expert Katharine Hogg traces his steps through today's London.

A guided tour round Germany's major international Handel Festivals: Göttingen, Halle and Karlsruhe.

Jane Shuttleworth is your personal guide around Handel’s greatest hit, from the solemn overture to the energetic and complex final fugue.

How 'twerky' is Handel's music?!

As part of Baroque Music Month on Bachtrack, Stephen Raskauskas tells us about a little-known collective of composers who caused some trouble for Handel in the 18th century.

Musicologist and passionate Handel advocate Corrina Connor and Margaret Steinitz, Artistic Director of the London Bach Society, debate the relative merits of their preferred Baroque composer.

As part of Bachtrack’s Baroque Music Month, Matthew Lynch examines the history of the historically informed performance movement, and discusses the situation today.

“It is difficult in no common degree to write anew concerning The Messiah,”1 said the music writer Henry F Chorley in 1859. The piece was, of course, 117 years old at the time, and there has only been more written on this landmark composition since. Handel’s Messiah is not just a popular classic, after all: it’s also a hugely important work.

Ariodante was the first of the six great operas Handel wrote for the new Covent Garden Playhouse in London after his long association with the King’s Theatre in Haymarket.