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Dinis Sousa conducts the combined forces of the English Baroque Soloists and the Monteverdi Choir in L’Allegro, il Penseroso ed il Moderato.

Refined if sometimes raucous pleasures from Haydn and Mozart as the EBS continues its European tour. 

Rising like a phoenix, the Alexandra Palace Theatre stages its first opera since its reopening after eighty years of slumber. 

A taste of the opening weekend in Leipzig’s marathon Bach Festival. 

Sir John Eliot Gardiner and his Baroque specialists continue their crusade to bring Bach's church cantatas to the modern world.

The final opera in Sir John Eliot Gardiner's Monteverdi 450 trilogy features an excellent cast and inspires deep emotion.

Sir John Eliot Gardiner's Monteverdi 450 trilogy began its Salzburg run with a tear-jerking concert performance of L'Orfeo.

John Eliot Gardiner assembled the Monteverdi Choir and the English Baroque Soloists for a moving performance of JS Bach's great oratorio.

The superb Monteverdi Chorus and the English Baroque Soloists recently brought a kind a seraphic force to Bach's St Matthew Passion.

Initially, it felt a little strange to be celebrating Mozart’s 260th Birthday with a performance of his sombre Requiem, but this turned out to be no ordinary performance of the popular work. 

Sir John Eliot Gardiner conducts the English Baroque Soloists through three Mozart Symphonies in one evening, educating along the way.

Juan Diego Flórez turns in a tour de force in the title role of a consistently attractive and inventive performance of Gluck's ballet-laden Orphée et Eurydice.

A joyously fresh and zesty Orfeo, played on a selection of period instruments and with a magnificent leading tenor, makes for a superb evening of Monteverdi with Sir John Eliot Gardiner. 

The Monteverdi Choir and English Baroque Soloists performed Monteverdi's L'Orfeo in Costa Mesa.

Friday’s two Proms had a theme running through them: Resurrection, Easter and Ascension. I wasn’t quite sure how I would feel about listening to Bach’s small-scale oratorios after Mahler’s mighty “Resurrection” Symphony, but I needn’t have worried. Compared to Mahler’s angst and doubt in the symphony, Bach’s unwavering Christian faith was reassuring.

Writing a positive review is not an easy task. When confronted with something lacking error, a review can go one of two ways: a brief and simple praise of all involved and a summary of the evening, or an over-the-top full-blown confession of awe and admiration. Spoiler alert: this review is the latter.

Bach, Biber, St. John's Smith Square. Clever juxtapositions, and they worked. The programmer of this concert - by the Monteverdi Choir and English Baroque Solists under Sir John Eliot Gardiner - had a neat thought, to place Bach's six Motets (BWV 225-230) into the former church in SW1. The building and the motets date from the same decade, the 1720's.