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French pianist Alexandre Kantorow and conductor Jérémie Rhorer make successful debuts with the Accademia Nazionale di Santa Cecilia. 

One of the leading events of the Staatsoper Unter den Linden's Festtage, Jérémie Rhorer's interpretation of the Missa solemnis is a monument to the composer... but its marble is not always too cleanly carved.

Claus Guth’s Don Giovanni returns to Amsterdam with an almost entirely new cast with strong leads by Seth Carico and Adrian Sâmpetrean. 

Laurent Pelly’s elegant musical stave production of Il barbiere di Siviglia, from the Théâtre des Champs-Elysées, charms and delights at the Edinburgh International Festival.

Jean-François Sivadier's pulsating new production propels The Don through his lusty adventures at a whirlwind pace. 

Despite being a little rough and ready at times, the Rodolfus Choir and superb Philharmonia captured a moving sense of stillness in these two popular works

The revival of this nine-year-old production feels dated, but its three Rs – Ruiten, Rose and Rhorer – make it a worthwhile evening.

Jérémie Rhorer led a turbocharged performance of this rare Spontini opera, which, although it tires with its grandiose hyperbole, contains excerpts that deserve to be heard more often.

The controversial Aix-en-Provence Così fan tutte reaches the Edinburgh Festival with a thrilling first-rate international cast and the excellent Freiburger Barockorchester.

Le Cercle d'Harmonie with their founder Jérémie Rhorer fail to convince in symphonies by Mozart and Mendelssohn, whereas the Italian soprano Rosa Feola triumphs in two concert arias.

An updating of Mozart's Die Entführung aus dem Serail to the post-World War One era in a desert fails to inspire in Aix. 

An opening night of Così fan tutte in Munich in which Gaëlle Arquez and Marina Rebeka as the two sisters take the honours. 

The 2012 Festival d’Aix-en-Provence began its four-week feast of opera and music with Mozart’s Marriage of Figaro—and could there be better a way? Nothing can beat the sublime company of Mozart, Da Ponte and Beaumarchais on a summer evening in the open-air Théâtre de l'Archevêché.

This was the second vocal concert of late (the last being Ariodante with Joyce DiDinato) to feature an exemplary female soloist caged inside an otherwise nondescript performance. Jérémie Rohrer tried in vain to force energy out of French chamber choir Les Elements and period ensemble Le Cercle de l’Harmonie.