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At this year's Musikfest Berlin, the Collegium Vocale Gent and Philippe Herreweghe perform a programme inspired by Arcadia, in what could might as well be a pastoral concept album.

Despite distancing, the members of Collegium Vocale Gent filled the Queen Elisabeth Hall with an impressively cohesive sound, transparent and powerful at the same time. 

There are multiple ways of approaching Bach's Mass in B minor, from the one-to-a-part advocated by Joshua Rifkin to a more conventional large choral approach, and everything in between.

Although Ács Ákos gave an excellent performance of Mozart's Clarinet Concerto, Iván Fischer's innovative Requiem didn't quite work.

At the Holland Festival, the performance of Haydn’s Die Schöpfung with film images by Julian Rosefeldt does not quite unfold as the spectacle it promises on paper.

A stunning performance of virtuosic ensemble singing by Collegium Vocale Gent to open the 16th Oslo International Church Music Festival

Philippe Herreweghe deftly coordinated the four vocalists, the Rotterdam Philharmonic, and his Collegium Vocale Gent through Beethoven’s challenging score.

The Collegium Vocale Gent, in the hands of Philippe Herreweghe, came and conquered Madrid with a memorable performance of Bach's St John Passion.

An imaginative and wonderfully performed programme of ecclesiastical works wrought in peril, alienation and exile.

Conductor Yannick Nézet-Séguin invokes an unattainable glimpse of heaven in a uniquely crafted Verdi Requiem. 

Philip Herreweghe directs Schütz' Psalmen Davids with Collegium Vocale Gent at the Amsterdam Concertgebouw, in a performance of sustained power and feeling.

The Christmas Oratorio is an odd work to perform in concert, but it makes a welcome change from the obligatory annual Messiah. Bach’s piece contains six separate cantatas that tell the traditional Nativity narrative, all subsumed under the broader theme.

The world’s largest gathering of early music artists and professionals, the Festival Oude Muziek Utrecht, marked its final concert on Sunday 2 September with a full-house performance by the Collegium Vocale Gent. Led by Philippe Herreweghe, the ensemble has been dedicated since the 1970s to the pursuit of Baroque sonorities and performance practice.

On Saturday, Philippe Herreweghe conducted the season’s most solemn yet spectacular oratorio concert in New York – a performance of J.S. Bach’s St. Matthew Passion in Alice Tully Hall at Lincoln Center. Scored for two choirs, two orchestras, and soloists, this almost operatic depiction of Christ’s Passion was performed by Herreweghe’s Collegium Vocale Gent Choir and Orchestra.