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

Heard side by side, these two Stabat Maters, neither of which is a typical example of its kind, make for an evening of striking contrasts under conductor Valentina Peleggi. 

Part of this year's London Handel Festival, Apollo e Dafne and The Choice of Hercules are transported to the stage in a captivating production that blends music and dance.

Gareth Farr re-orchestrates Gluck in Neil Ieremia's imaginative reinterpretation of the Orpheus myth for New Zealand Opera. 

Gianluca Capuano and Les Musiciens du Prince open the Pfingstfestspiele with a bang in a profound interpretation of Gluck’s masterpiece, where Cecilia Bartoli shines in her debut as Orfeo.

Robert Carsen's riotous production of Rinaldo returns to the Sussex Downs, a schoolboy fantasy colliding crusading knights with St Trinian's bad girls. 

Dominic Wheeler did full justice to Britten’s brilliantly colourful and haunting score right from those first eerie glissandi.

This performance of Oreste showcased a exceptionally strong young cast keenly in tune with Handelian style.

A solid Magic Flute from the performers but marred by the director's foibles. 

La mise en scène de Robert Icke est une cruelle déception, pas compensée par les qualités de la distribution et de la direction musicale de Simon Rattle.

Avec une version noire et dépouillée de West Side Story, Barrie Kosky et Otto Pichler révèlent l'essence et les potentialités d'une œuvre trop peu explorée jusqu'à présent.