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Young countertenor Figuier gives an accomplished vocal performance, sometimes overpowered by the energy of Rousset and Les Talens Lyriques. Oboist Gilles Vanssons steals the show.

Handel's last English oratorio Jephtha is beautifully performed by Christophe Rousset and Les Talens Lyriques in Halle, although the drama is a bit slow off the mark. 

Martin G Berger exhaustively reworks the story and the libretto of Salieri's Cublai, gran kan de' Tartari and throws the kitchen sink at this new production, but not everything lands well. 

Excellent performances and stage direction make a good case for an opera that's on the slow side dramatically.

Cavalli's debut at La Scala is a triumph, earning applause that not even a Bohème or a Traviata can sometimes elicit. 

In a successfully streamlined staging, Stefano Landi’s obscure, overpopulated opera got the royal treatment by a superior cast and orchestra.

Christophe Rousset and Les Talens Lyriques perform Alceste, the most recent effort in their almost complete set of Lully's operas. A strong cast and a remarkable chorus complete a successful performance.

A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?

Energetic playing, clarity and precision from Christophe Rousset and Les Talens Lyriques in three dramatic pieces by Monteverdi, but some weighty singing obscures the detail. 

Staged at Dutch National Opera’s workshop, Madrigals reduces the distance between public and performers and creates a real sensorial experience. 

At the Theater an der Wien, director Mariame Clément and novelist Lucy Wadham have crafted innovative material that brings the old-fashioned lyrics to life in a coherent and contemporary dramatic setting.

Christophe Rousset leads Les Talens Lyrique in a double Baroque bill: Charpentier's Acteon and Purcell's Dido and Aeneas.

Les Talens Lyriques gave performances of the utmost sophistication and elegance, more than living up to their reputations of masters of this repertoire.

The revival of Pierre Audi’s production of Handel's Alcina at the Amsterdam Stadsschouwburg is blessed with an excellent cast, led by Sandrine Piau who gives an unforgettable performance as the sorceress.

The staging of Pierre Audi’s production of Handel’s Tamerlano at the Amsterdam Stadsschouwburg is all understated elegance, well matched by Les Talents Lyriques’ refined playing.

Christophe Rousset and Les talens lyriques present a delightful concert performance of Rameau's five-in-one opéra-ballet Les Indes galantes.

Productions of Monteverdi’s Il ritorno d’Ulisse in patria which make the title character a returning war veteran, preferably one returning from a juicy topical war, are nothing new, and director Claus Guth doesn’t stretch the well-worn conceit much further in this listlessly vague staging for the Theater an der Wien.

Hell hath no fury like a woman scorned. Scorned womanhood has no better archetype than Euripides's Medea. And you're unlikely to see a more powerful or affecting Medea than Nadja Michael's performance in Cherubini's opera Médée, in the first production of the new season at La Monnaie in Brussels (De Munt, if you're a Flemish speaker.)Like all good Greek tragedy, we all know the story.

Christophe Rousset's Les Talens Lyriques, founded in 1991, is inextricably linked with the music of the French Baroque. Rousset cut his teeth in William Christie's similar outfit, Les Arts Florissants, before branching out to explore works off the beaten track of Charpentier, Couperin, et al.