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René Jacobs and Sunhae Im tackle Handel’s Il trionfo del Tempo e del Disinganno in Dortmund’s acoustically dry Reinoldihaus. Despite challenges, Im’s radiant soprano and B’Rock Orchestra’s basso continuo group shine. 

In a concert performance at the Berlin Philharmonie, conductor René Jacobs gives his own – thrilling – take on Monteverdi's L'Orfeo.

A new production of Vivaldi's Byzantine opera Il Giustino charms Berlin, thanks to René Jacobs' exemplary conducting and a top-level cast led by Christophe Dumaux.

In the hands of B'Rock Orchestra and conductor René Jacobs, Telemann's polyglot opera, once thought lost to time, becomes more than just a curiosity.

Romeo Castellucci’s inspiring and spiritual production lands in Berlin, with a superb cast of Baroque specialists and the B’Rock Orchestra under the baton of René Jacobs.

Promoting Leonore, the original version of Beethoven's Fidelio, René Jacobs made several choices of his own, only some of them justifiable.

Beethoven lovers were expecting an authentic recreation of the first version of Fidelio but instead they got Leonore à la Jacobs.

Jacobs has found in the excellent musicians of this orchestra the perfect laboratory to explore his conception of Mozart.

Under the baton of René Jacobs, B’rock Orchestra gave an inspired performance  that ought to contribute in giving Il ritorno d’Ulisse in Patria the place it deserves in the standard repertoire.

Under the baton of René Jacobs, the Akademie für Alte Musik Berlin dazzles in the Staatsoper's production of Purcell's "dramatick opera". 

René Jacobs conducted the Freiburg Baroque Orchestra in an outstanding performance of Mozart's Idomeneo as part of Lincoln Center's Mostly Mozart Festival

At the Holland Festival, the performance of Haydn’s Die Schöpfung with film images by Julian Rosefeldt does not quite unfold as the spectacle it promises on paper.

An opera that pokes fun at opera seria? An opera that features backstage preparations for a show, followed by an opera within an opera? No, it’s not Strauss' Ariadne auf Naxos. 

Not the Barbiere you might have been expecting if you hadn't paid attention to the small print at the Theater an der Wien... 

Belgian conductor and baroque specialist René Jacobs demonstrates his iconoclastic approach to Mozart with an excitingly theatrical Abduction from the Seraglio at the Concertgebouw in Amsterdam.

Holland Festival revives Pierre Audi’s 2012 production of Handel’s Orlando. Conducted by baroque specialist René Jacobs and featuring an strong cast, it is a great occasion to witness American countertenor Bejun Mehta in what has become, over the past decade, his signature role.

Come for the singing, enjoy the music and bring your sunglasses: this psychologically charged Idomeneo at the Theater an der Wien is not to be missed.

One thing is for sure: whether you like Baroque opera or not, you will never be bored by an opera conducted by René Jacobs. By shaking up convention with his subtle readings, sometimes even rewriting the composer’s score, the Belgian conductor is the one of those rare few who always find an elegant way to bring the repetitive mannerisms of the Baroque to life.

When the Theater an der Wien’s in-house magazine featured an article about costumes created by none other than Christian Lacroix for this new production of Radamisto, I was intrigued by the pictures, but also a bit nonplussed by the idea that his gowns had been hand-painted in order to illustrate the different levels of Radamisto’s nightmare.

In Pierre Audi’s new production of Handel’s Orlando, currently running at La Monnaie in Brussels (until 12 May, and thereafter available free online on their website for three weeks), the knight Orlando is portrayed as a modern-day fireman who in his fascination with fire has become an arsonist – “pyromane” as Audi explains in the programme.

With two happy endings, two recognition scenes, and a second act that seems more of a self-contained sequel than a conclusion to the first, Gluck’s Telemaco has come in for a musicological pasting over the years for its alleged weaknesses of dramatic content and construction.