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Corelli and a triple-decker sandwich on the south coast, with three arias from Handel’s Messiah separated by two concertos from Vivaldi’s Four Seasons.

Vivica Genaux joins Lawrence Zazzo in a concert of arias and duets by Handel and other Baroque composers.

Thanks to the dedicated work of scholars and practitioners in the field, in the last decade, audiences in London have become relatively familiar with the music of female composers in the Baroque period.

Rising tenor Juan Sancho sang an exciting if slightly thematically odd program, Handel's Seven Deadly Sins, at the Halle Handel Festival

Nicholas Kraemer led the Chicago Symphony in a spirited program of Handel that included some rarely heard vocal works with the chorus and soprano Amanda Forsythe.

Destined to be demolished but still in full song last Sunday, the Dr. Anton Philipszaal hosted a unique baroque concert by Philippe Jaroussky and Nathalie Stutzmann. Seldom did Handel's and Vivaldi's opera heroes capture the imagination to this degree.

Jordi Savall directs a multi-lingual, multi-cultural voyage through Europe's war-torn past.

If there’s one glowing aspect missing from the burgeoning classical music scene in Istanbul, it is chamber music. The city has been a host to an increasingly diverse range of musical performances and festivals in the last few years, thanks to rather effective sponsorship arrangements, as well as small organizations, and sometimes even individuals, taking charge in organizing concert series.

Tragicomedia presented a jewel-box of baroque cantatas at Gilder Lehrman Hall at the Morgan Library Museum. The elite ensemble, directed by Stephen Stubbs, includes some of America’s finest Baroque musicians, who can improvise in the style as well. Friday evening’s concert also featured soprano Shannon Mercer and bass-baritone Douglas Williams.

Everything about Tuesday evening’s concert by The Theatre of Early Music at Carnegie Hall was intimate.Today, we associate the operas of Handel with music and drama on the grandest scale. However, the performance in Weill Recital Hall gave modern audiences a glimpse into how Handel’s audiences would have consumed this music in coffee houses, concert halls, and in the home.

Put on a good quality string trio at a London classical music venue and there's one thing you can be sure about: the average age of the audience is going to be over 60. But then the Orchestra of the Age of Enlightenment weren't exactly playing by the usual rules.

The final of the 10th Handel Singing Competition (part of the London Handel Festival) was an all girls’ affair: of the five finalists, three were sopranos and two mezzo-sopranos. Each singer performed a 20 minute all-Handel programme of her own choice. Choosing a well-balanced programme is considered a vital part of this final presentation.

This near sell-out concert at the Barbican was intended as a purely vocal programme, ranging from 1710 to 1736 and featuring two female vocalists accompanied by baroque specialists The English Concert. Expertly led from the organ by Harry Bicket, the orchestra played with spirit and their rendering of Handel's Concerto Grosso Op.