Buscador de artículos | Travis Mason

Long-forgotten Spanish guitar music brought to life in a scintillating concert by Le Poème Harmonique at Wigmore Hall.

Jordi Savall's returns to 1991 film soundtrack and captivates a full house at St John's Smith Square.

An exhilarating evening of rarities and novelty from Anna Bonitatibus.

An delightful hour of Baroque rarities from Repicco and Friends.

A stunning performance of virtuosic ensemble singing by Collegium Vocale Gent to open the 16th Oslo International Church Music Festival

B'Rock bring an interesting programme of Italian Baroque to their debut at the Proms.

There comes a stage in every countertenor’s career when he feels himself ready to tackle the exposed repertoire of John Dowland, and hence the need to find himself a talented lutenist.

The Rolf Lislevand Ensemble in a dynamic and invigorating performance of 16th and 17th century music at the Salzburg Whitsun Festival.

Lucy Crowe and Tim Mead give a thoughtful rendition of Pergolesi's Stabat Mater at a Lenten concert by La Nuova Musica at St John's Smith Square.

A vibrant and diverse evening of Vivaldi at Wigmore Hall with the Akademie für Alte Music Berlin. 

The Sixteen's tour of Monteverdi's Vespers nears completion with an absorbing rendition at Guildford Cathedral. 

A Latin-American take on Baroque music by Ensemble Villancico at the Valletta International Baroque Festival. 

Iestyn Davies and The King's Consort a real highlight at the Valletta International Baroque Festival. 

Ex Cathedra's Chorus in fine voice for a "small scale" Messiah in Birmingham. 

Adrian Chandler and La Serenissima showcase dramatic Vivaldi motets in a lively programme of lesser known Pietà music. 

Maria Cristina Kiehr in an enlightening evening of early Renaissance Spanish music at the York Early Music Festival. 

Founded in 2005, Concerto Stella Matutina hail from the musically rich Vorarlberg region of Austria (home of the Schubertiade). For this evening’s concert, they were represented by two violins, a viola, cello and double bass apiece, a concert organ and percussion, plus their magnificent Baroque brass section – three players with a variety of horns, trumpets, trombones and cornetts.

A near capacity audience gathered at the Wigmore Hall last week to celebrate another English musical anniversary – not the birth of Benjamin Britten one hundred years ago, but that of lutenist and composer John Dowland, some 350 years earlier.

Jordi Savall is well known to early music lovers, championing the revival of the viola da gamba with a wealth of previously unknown material and appearing regularly in the UK both as player and leader of his three ensembles.

Handel, two cracking counter-tenors and Renée Fleming were all the excuses needed for a long-overdue trip to New York to hear Stephen Wadsworth's production of Rodelinda - the very piece which revived interest in Handel's opera following its performance in Göttingen in the 1920s.

To Glyndebourne, for the opening night of Handel's Rinaldo, the first of his operas to be staged in London in 1711, when he was just 26 years old.

If one had idly wondered how a programme of English love songs, sung by a German, would be received by a Norwegian audience, in a wet and windy Bergen, the answer came loud and clear at this week's International Festival.

"Intermezzo" has submitted an excellent and comprehensive review of the opening night of this classy new production, but I was so shocked to hear booing from neighbouring seats that perhaps I might be permitted to add this view from a relative opera novice? I've not seen this opera before, or even the Shakespeare play, so although I had nothing to compare it with, I also had nothing to miss in th

The third day of the 27th Lufthansa Festival of Baroque Music's journey from Hanseatic to Adriatic stopped off in the spiritual Catholic/Protestant borders of Germany in the latter half of the 17th Century for an intimate session entitled "Life and Soul", which turned out to be a resoundingly cheerful evening, despite all the prayers and laments.

A true highlight of this year's London Handel Festival was a performance of the dramatic oratorio Saul, featuring a large cast of young soloists, including several previous finalists of the Festival's annual singing competition, all now getting well established in their solo careers.

Right, we had our fun with the lively Scholl/Jaroussky concert in the Barbican in December, now for the serious stuff, Andreas Scholl singing the Purcell his admirers have wanted to hear for years. With one or two exceptions, the programme concentrated on Purcell's quieter, deeper and more reflective repertoire.

In sporting parlance, the "dream-team" of countertenor Iestyn Davies and Richard Egarr at the harpsichord came together last night for a Wigmore Hall concert held to mark the 10 years directorship of John Gilhooly, and was the perfect representation of his decade at the helm: singer + harpsichord, immaculate programming, consummate musicianship, scholarship, unheard-of treasures, blended with a da

On a dark and snowy night, a packed Wigmore Hall was captivated by the Early Opera Company's offering of Handel's Messiah - compared to some, an intimate performance with a dozen instrumentalists and a choir of 8, but which suited the surroundings to perfection.

The countertenor voice seems to polarise opinion like no other - you either love it or hate it, there is little middle ground - and even amongst the aficionados (in whose number I count myself), there can be strong, almost tribal allegiances to one school or another and sometimes to individual proponents.

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.

The version of Gluck's Orfeo ed Euridice sung last night at the Cadogan Hall was based on the original Italian version (1762) but included elements of a later French version. The various parts of nymphs, shepherds, Furies etc. were all sung by the ~150 strong London Concert Choir who produced a rich and well balanced sound which supported the main action very well.