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Il Maestro e Margherita: eine Reihe geistlicher Kantaten hatte der junge Händel in Rom für seine Lieblingssängerin Margherita geschrieben.

Peter Whelan und seine Musiker verfehlten die Wirkung eines besonderen Konzerterlebnisses nicht, indem sie vor allem ein überragendes Phrasierungs- und Dynamikfeuerwerk hinlegten.

Die amerikanische Mezzosopranistin tourt mit ihrem Programm My Favourite Things durch Europa und trat auch in beim Grafenegg Festival auf.

Blockflöte und Countertenor der Extraklasse lassen Gemüt und Ästhetik der neapolitanischen Schule in Herz und Gedächtnis verfangen.

Ihre Opernkarriere hat Edita Gruberová zwar beendet, aber sie kann immer noch nicht ganz von den großen Opernpartien lassen.

Fink, flink, furios – mit diesem Programm von Dorothee Oberlinger und Dmitry Sinkovsky wird barocke Utopie kurzweilig spaßige Realität.

Corelli and a triple-decker sandwich on the south coast, with three arias from Handel’s Messiah separated by two concertos from Vivaldi’s Four Seasons.

Tras varias cancelaciones, se presentó por fin la propuesta de Joyce DiDonato e Il pomo d'oro, My favourite things, un magnífico y personal proyecto que invita a la calma a la vez que repasa las características más relevantes de la música barroca.

Réunis pour une soirée de gala exceptionnelle, les adhérents de l’association UNISSON ont proposé, d’une seule voix, un concert mettant en avant des œuvres lyriques d’une grande diversité. 

Vivica Genaux joins Lawrence Zazzo in a concert of arias and duets by Handel and other Baroque composers.

Thanks to the dedicated work of scholars and practitioners in the field, in the last decade, audiences in London have become relatively familiar with the music of female composers in the Baroque period.

Un bilan globalement positif pour un concert sauvé in extremis. Une soirée sans Magdalena Kožená, mais avec un chef, un orchestre et une soliste très impliqués.

Rising tenor Juan Sancho sang an exciting if slightly thematically odd program, Handel's Seven Deadly Sins, at the Halle Handel Festival

Ce récital de la soprano italienne Patrizia Ciofi accompagnée par l’orchestre Il Pomo d’Oro dirigé par le chef russe Maxim Emelyanychev fut assurément l’une des plus exquises soirées dédiées à l’art vocal programmées cette saison à Philharmonie de Paris.

Nicholas Kraemer led the Chicago Symphony in a spirited program of Handel that included some rarely heard vocal works with the chorus and soprano Amanda Forsythe.

Un mois après sa désormais céléèbre Norma, nous retrouvons avec bonheur Cecilia Bartoli au Théâtre des Champs-Élysées pour un récital unique entièrement dédié à Haendel et ses héroïnes. Pour l’accompagner, elle a choisi les Musiciens du Prince, l’ensemble baroque créé à son initiative avec l’Opéra de Monte-Carlo au printemps dernier.

La soprano a sans surprises triomphé dans un récital consacré à Haendel, entourée du Venice Baroque Orchestra.

Le 17 octobre, Patricia Petibon interprétait un récital « Monstres, sorcères et magiciens » au Théâtre des Champs-Elysées, secondée par la basse Nahuel di Pierro, et accompagnée par le Concert d'Astrée sous la baguette d'Emmanuelle Haïm. Une soirée parsemée de beaux moments, mais pas inoubliable.

À Ambronay, Franco Fagioli chantait de sa voix spectaculaire plusieurs grands airs de Porpora et Haendel, accompagné par Alessandro de Marchi et l’Academia Montis Regalis. Un pur joyau.

Destined to be demolished but still in full song last Sunday, the Dr. Anton Philipszaal hosted a unique baroque concert by Philippe Jaroussky and Nathalie Stutzmann. Seldom did Handel's and Vivaldi's opera heroes capture the imagination to this degree.

Jordi Savall directs a multi-lingual, multi-cultural voyage through Europe's war-torn past.

If there’s one glowing aspect missing from the burgeoning classical music scene in Istanbul, it is chamber music. The city has been a host to an increasingly diverse range of musical performances and festivals in the last few years, thanks to rather effective sponsorship arrangements, as well as small organizations, and sometimes even individuals, taking charge in organizing concert series.

Tragicomedia presented a jewel-box of baroque cantatas at Gilder Lehrman Hall at the Morgan Library Museum. The elite ensemble, directed by Stephen Stubbs, includes some of America’s finest Baroque musicians, who can improvise in the style as well. Friday evening’s concert also featured soprano Shannon Mercer and bass-baritone Douglas Williams.

Everything about Tuesday evening’s concert by The Theatre of Early Music at Carnegie Hall was intimate.Today, we associate the operas of Handel with music and drama on the grandest scale. However, the performance in Weill Recital Hall gave modern audiences a glimpse into how Handel’s audiences would have consumed this music in coffee houses, concert halls, and in the home.

Put on a good quality string trio at a London classical music venue and there's one thing you can be sure about: the average age of the audience is going to be over 60. But then the Orchestra of the Age of Enlightenment weren't exactly playing by the usual rules.

The final of the 10th Handel Singing Competition (part of the London Handel Festival) was an all girls’ affair: of the five finalists, three were sopranos and two mezzo-sopranos. Each singer performed a 20 minute all-Handel programme of her own choice. Choosing a well-balanced programme is considered a vital part of this final presentation.

This near sell-out concert at the Barbican was intended as a purely vocal programme, ranging from 1710 to 1736 and featuring two female vocalists accompanied by baroque specialists The English Concert. Expertly led from the organ by Harry Bicket, the orchestra played with spirit and their rendering of Handel's Concerto Grosso Op.