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In the Bucharest performance, the individual vocal contributions were consistently good, with some really standing out.

A star cast and red-hot conducting make for a memorable night at the Barbican.

Calixto Bieito sets Monteverdi’s L’incoronazione di Poppea in a hedonist, decadent society whose citizens are defined by their egotism, ambition and sexual exploits.

Accomplished performances from the cast and La Cetra Baroque Orchestra can’t fully compensate the shortcomings of Caldara’s Harmony of the Planets.

An evening of exquisite Baroque music and flamboyant coloratura at the Royal Theatre in Versailles.

An outstanding cast under Ottavio Dantone at the Theater an der Wien was headed by Lawrence Zazzo and Emőke Baráth.

As always in the librettos of the time, the historical events are just a weak excuse to stage timeless stories of jealousy, struggle for power, sexual desire – the ingredients in today's television series.

It's not his most commonly performed work, but with a crack team of vocal (and orchestral) soloists, Andrea Marcon and the Venice Baroque Orchestra gave a fabulous account of Vivaldi's only surviving oratorio.

Jens-Daniel Herzog sets his new Orlando in a sanatorium where, pulled between his love for a woman and his passion for war, the protagonist is trying to recover his sanity.

Ottavio Dantone, the Accademia Bizantina and the Norwegian Soloists' Choir gave a strong performance of Handel's oratorio Belshazzar.

Seldom performed, this Vivaldi work plays on all the great themes of opera: jealousy, identity, paternal and fraternal love, and other human values cast aside for all the wrong reasons.

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.

Handel's Il trionfo del Tempo e del Disinganno at the Berliner Staatsoper with Les Musiciens du  Louvre Grenoble.

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.