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Fabio Ceresa's spectacular production to the Teatro Malibran with a strong cast in the hands of Diego Fasolis.

Christophe Gayral gives Vivaldi's Farnace a contemporary update at the Teatro Malibran, but there are musical compensations. 

The lack of a curtain has forced the director to employ a new inventiveness, if only with partially success.

Europa Galante's musicians’ collective expertise in playing music of the 17th and 18th centuries is indisputable and was in full display once again in Bucharest. 

Anna Maria della Pietà may not be the most celebrated violinists in history, but she inspired Antonio Vivaldi to write some of his finest concertos, two of which were heard in this tribute to three of the Red Priest's muses. 

The 2002 production of Handel’s masterpiece is revived with a solid cast under the baton of Riccardo Minasi.

Ceresa’s flamboyant production from the Festival della Valle d’Itria is revived in Venice with a strong cast under the baton of Diego Fasolis.

Renzetti's traditional rendition does not reveal yet unprecedented details of a score that is the summation of Verdi's mastery and his last work – his third based on Shakespeare.

Not a particularly revealing Falstaff, but a pleasing performance though. Maybe one would have expected something of greater impact from a festival like this one, but that goal had already accomplished by Graham Vick with his Stiffelio the night before...

Several of Tokyo’s finest collaborate in successfully delivering a re-opening concert at Suntory Hall

This production of Antonio Vivaldi’s Orlando furioso showed the audience what a Baroque opera is.

An underwhelming performance that fell prey to poor interpretive judgements. 

A probing, exultant and musically tireless performance from The English COncert.

Richard Jones creates forceful theatre by staging Ariodante as a tale of shaming and abuse. Andrea Marcon conducts an accomplished cast and the first-class Concerto Köln.

Interesting rediscovery of Veracini's first opera, composed for mythical castrati Senesino and Farinelly, and brought to life again by Fabio Biondi and Europa Galante.

Laurent Pelly's production of Giulio Cesare is a play of references to antiquity, heroism and myth. However, it does not thrill. 

Emmanuelle Haïm leads Christiane Karg and Sonia Prina in Handel's sacred oratorio La resurrezione at the Berlin Philharmonic. 

Beautiful sacred vocal music by Vivaldi and Pergolesi, performed by Roberta Invernizzi, Sonia Prina and the English Concert.

Conductor Alan Curtis and musicologist Alessandro Ciccolini have successfully restored Vivaldi's opera Catone in Utica, and they brought it to the Théâtre des Champs-Élysées in Paris with a star performance from mezzo Ann Hallenberg.

“A revival of a revival of a revival” might describe Handel’s practice of reviving his own works. This highly acclaimed revival production of Handel's Xerxes received it best performance to date with a star-studded cast.Xerxes tells the tale of two brothers, Xerxes and Arsamenes, both competing for the same bride – Romilda.

London audiences had never seen anything quite like it. Fireworks, fountains and live sparrows were just a few of the special effects livening up the premiere of Handel's Rinaldo way back in 1711, prompting the Spectator's critic to compare it sniffily to a Punch and Judy show. Fast forward two hundred years, and you might wonder if there's been any progress.

To Glyndebourne, for the opening night of Handel's Rinaldo, the first of his operas to be staged in London in 1711, when he was just 26 years old.