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A radiant chemistry between Céline Scheen and Philippe Jaroussky is evident in an evening of Caldara and Pergolesi in Bucharest. 

Cecilia Bartoli sang arias written (and not written) for Farinelli like a goddess, putting on and taking off a parade of varigendered costumes to the jubilant virtuosity of Les Musiciens du Prince.

Accomplished performances from the cast and La Cetra Baroque Orchestra can’t fully compensate the shortcomings of Caldara’s Harmony of the Planets.

Cecilia Bartoli and Sol Gabetta show impressive camraderie in Baroque arias.

An exhilarating evening of rarities and novelty from Anna Bonitatibus.

B'Rock bring an interesting programme of Italian Baroque to their debut at the Proms.

A tantalising selection of Italian Baroque music from Andreas Scholl, Avi Avital and friends at Wigmore Hall.

A vibrant and diverse evening of Vivaldi at Wigmore Hall with the Akademie für Alte Music Berlin. 

Such is the growing popularity of the solo countertenor voice that in this past week I was able to hear four countertenor performances in London - the latest being Max Emanuel Cenčić.

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.

Sometimes, glancing through reviews and recordings of Baroque opera arias, one might be forgiven for wondering whether tenors and basses ever appeared on the 18th-century stage – the genre seems dominated by the exotic lives of the castrati and the incredibly exciting music that was written for them.

In an age of modern convenience and so-called progress, it’s refreshing to witness an endeavor by a group of enthusiastic young musicians seeking to dig up music’s past. Bojan Cicic and his ensemble Suonar Cantando put on a marvelous display of musical responsibility by treating this repertoire with the fire it deserves.

Here’s a choir that need never worry about attracting younger members. It runs its own school, with around 300 children, and from the age of ten the most musically gifted boys are channelled into the choir.

On 19th November 1714 the Habsburg court in Vienna celebrated the nameday of Holy Roman Empress Elisabeth Christine with an operatic pastiche, L'Atenaïde, for which three court composers (Marc'Antonio Ziani, Antonio Negri und Antonio Caldara) each wrote an act.