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The Monteverdi Choir and Dinis Sousa bring a fresh perspective to a performance of Brahms' German Requiem with the Royal Concertgebouw Orchestra in Amsterdam.

Dinis Sousa conducts the combined forces of the English Baroque Soloists and the Monteverdi Choir in L’Allegro, il Penseroso ed il Moderato.

Dinis Sousa doesn't put a foot wrong as the Orchestre Révolutionnaire et Romantique and Monteverdi Choir give a performance of startling virtuosity at the end of a European tour. 

Under the direction of Sir John Eliot Gardiner, Zurich’s fine Tonhalle Orchestra, The Monteverdi Choir and soloists launch a sonorous holiday season with Hector Berlioz’s sacred oratorio L’Enfance du Christ.

To mark the 150th anniversary of the composer's death, Sir John Eliot Gardiner conducts the opera charting the escapades of the Italian goldsmith and sculptor. 

Rising like a phoenix, the Alexandra Palace Theatre stages its first opera since its reopening after eighty years of slumber. 

This concert was inevitably the sum of far more than its parts, and not for nothing are the Monteverdi Choir and the Orchestre Revolutionnaire et Romantiquem, regarded as among the best in the world

A taste of the opening weekend in Leipzig’s marathon Bach Festival. 

Sir John Eliot Gardiner and his Baroque specialists continue their crusade to bring Bach's church cantatas to the modern world.

An unapologetic treat at the Proms and a composition of immediate appeal.

The final opera in Sir John Eliot Gardiner's Monteverdi 450 trilogy features an excellent cast and inspires deep emotion.

Sir John Eliot Gardiner's Monteverdi 450 trilogy began its Salzburg run with a tear-jerking concert performance of L'Orfeo.

Sir John Eliot Gardiner conducts an evening where much pomp and circumstance does little justice to the multifarious aesthetics of a great composer.

Prom 20 proved an exhilarating journey, featuring Berlioz’s Roméo et Juliette as one of the key works of this year’s BBC Proms' Shakespeare 400 celebrations.

John Eliot Gardiner assembled the Monteverdi Choir and the English Baroque Soloists for a moving performance of JS Bach's great oratorio.

The superb Monteverdi Chorus and the English Baroque Soloists recently brought a kind a seraphic force to Bach's St Matthew Passion.

Shakespeare's Nick Bottom, who claimed “a reasonable good ear in music” would surely have approved of these performances at the Barbican Hall. 

Initially, it felt a little strange to be celebrating Mozart’s 260th Birthday with a performance of his sombre Requiem, but this turned out to be no ordinary performance of the popular work. 

Juan Diego Flórez turns in a tour de force in the title role of a consistently attractive and inventive performance of Gluck's ballet-laden Orphée et Eurydice.

Sir John Eliot Gardiner conducts the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir in a late night performance of Beethoven's Missa Solemnis at the BBC Proms.

Friday’s two Proms had a theme running through them: Resurrection, Easter and Ascension. I wasn’t quite sure how I would feel about listening to Bach’s small-scale oratorios after Mahler’s mighty “Resurrection” Symphony, but I needn’t have worried. Compared to Mahler’s angst and doubt in the symphony, Bach’s unwavering Christian faith was reassuring.

Writing a positive review is not an easy task. When confronted with something lacking error, a review can go one of two ways: a brief and simple praise of all involved and a summary of the evening, or an over-the-top full-blown confession of awe and admiration. Spoiler alert: this review is the latter.

Beethoven’s Missa Solemnis is an odd piece. Despite having a rich recorded legacy, it is not a piece that one encounters often in the concert hall. The technical challenges of this music are up there with virtually any other piece of combined music for choir and orchestra.

As I walked to this concert by the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir, I wondered what might have changed in Sir John Eliot Gardiner’s Beethoven in the two decades since he first recorded these symphonies.

Opera at the 2012 Proms began with a performance of Debussy’s only completed opera, Pelléas et Mélisande. Conducted by Sir John Eliot Gardiner, the production celebrated the 150th anniversary of the composer’s birth, and marked the 24 years since Gardiner first brought the work to the Royal Albert Hall with the Opéra de Lyon.

Bach, Biber, St. John's Smith Square. Clever juxtapositions, and they worked. The programmer of this concert - by the Monteverdi Choir and English Baroque Solists under Sir John Eliot Gardiner - had a neat thought, to place Bach's six Motets (BWV 225-230) into the former church in SW1. The building and the motets date from the same decade, the 1720's.

The overture to Der Freischütz is a familiar concert warm-up, but the opera itself is a rarer find these days. It wasn't always so. With over fifty performances in the eighteen months following its 1821 Berlin debut, Weber's spooky tale of souls traded for magic bullets was an instant hit.

Monteverdi’s Vespro della Beata Vergine, Durham Cathedral and Sir John Eliot Gardiner – a glorious combination of music and architecture, in the hands of a man who made his name bringing the Vespers out of obscurity and into their well-deserved place in the concert repertoire.