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Anna Prohaska reigns supreme in programme of Cleopatra and Dido-inspired Baroque arias in her late night Prom.

The Dunedins venture south to show London how to play and sing Purcell.

Themed around legendary African queens Dido and Cleopatra, Prohaska’s recital with the virtuosi of Il Giardino Armonico could serve as a template for the ideal Baroque programme.

Arcangelo and three excellent singers performed 17th-century music inspired by Shakespeare in a vivid and amusing performance. Lipstick and pashmina anyone?

The Belgium-based vocal ensemble presented a programme of vocal and choral delights from 17th century England with mixed results. 

Party like it's the 1690s! The CBSO Baroque Ensemble entertains in a programme of joyous dance music. 

On entering the Sam Wanamaker Playhouse at the Globe Theatre, you feel like you are stepping back in time with its painted ceiling, cushioned benches (a modern luxury) and a candlelit bare stage.

After a hugely successful concert at last year’s Clifton International Festival of Music, Ars Eloquentiae took us on a journey back in time to the Baroque stage for “A Tale of Two Cities: London and Paris, Stage and Street” at the Clifton Cathedral.

First performed in 1653 with music by Christopher Gibbons, and then revived in 1659 with additional music by Matthew Locke, the masque Cupid and Death makes for curious viewing today. In the first production by the new Pearl and Dagger Company of Sydney, the positives outweighed some amateurish aspects.

Fantasias for viol trio performed by members of Phantasm illustrate the inventiveness of England's best composers from the sixteenth and seventeenth centuries.

Until the last decade or so, becoming involved in the historically-informed performance practice (HIPP) movement – which involves performing on instruments of a composer’s historical period – was not so “hip.