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Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

Director Francesco Micheli undersells Handel in this Glyndebourne debut, but there's plenty of froth to keep the audience entertained. 

Whether one considers Messiah to be really appropriate for Christmas, it always a welcome gift for the Handel aficionado, and this performance from Rotterdam, while suffering some unfortunate cuts, is an otherwise solid musical offering.

Jonathan Cohen embarks on his tenure as Music Director of the Quebec City chamber orchestra Les Violins du Roy.

Mozart's Clarinet Concerto started out naively impetuous, quick, breathless as if on the way to an assignation

Jonathan Cohen leads a sensitive performance by Arcangelo, with a line-up of five outstanding lyrical voices. 

Jonathan Cohen led The Cleveland Orchestra in sparkling performances of works by Handel and Mozart, with pianist Kristian Bezuidenhout as a brilliant soloist in Haydn.

Interviewed at the time of this production's first outing, McVicar declared that “Entertainment is not a dirty word”. His Giulio Cesare remains a hugely entertaining opera production.

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

The bicentenary of Méhul's death in 1816 was used by the Orchestra of the Age of Enlightenment, along with the enterprising Palazzetto Bru Zane, to showcase his music in a varied and entertaining programme.

Arcangelo and three excellent singers performed 17th-century music inspired by Shakespeare in a vivid and amusing performance. Lipstick and pashmina anyone?

1960s kitsch set in old Seville, excellent acting and movement direction combines with strong singing and immaculate playing from the OAE to make Glyndeboune's Le nozze di Figaro a triumph.

Five star reviews are flowing Arcangelo’s way. It’s easy to see why. Five years after it was founded by Jonathan Cohen, the quality of this zestful ensemble just keeps soaring. 

There are some musical compositions that have always been a bit of a gamble, for composers, performers and even listeners. They might be exceptionally difficult, require extraordinary forces, or show such originality as to be perpetually startling.

ENO's latest première matches a young theatre director with a reputation for cutting-edge drama to one of the earliest operas in the repertoire, in the less-than-conventionally-operatic surroundings of London's Young Vic. It's an improbable combination, and I wasn't at all sure what to expect.