Live, Video: Find classical music concert, opera, ballet and dance reviews | Melanie Liertz

As usual, Pinchgut lavishes musical excellence on an obscure Baroque work... but why stage an oratorio? 

Unseen since the 18th Century apart from one night in Germany, Legrenzi's Giustino deserves to re-enter the repertoire after its revival by Pinchgut Opera's Erin Helyard.

Love comes in 57 varieties in Cavalli's Apollo and Dafne, and they're both enjoyed and suffered by a dynamic cast of six playing 20 characters.

Monteverdi’s Il ritorno d’Ulisse in patria is given the Pinchgut treatment, with an abstract staging complementing historically informed music-making under Erin Helyard.

Historically informed rarities from Rameau and Vinci aim to recreate the world of 18th-century opera-going in Paris. But a misaligned production distracts from this specialised experience.