En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Louis Hurley

An updated staging of this 17th-century opera, with great singing and acting, is more successful than its somewhat distracting updated orchestration. 

A rare 17th-century English Baroque spectacular, designed to delight the Restoration crowd, is given a contemporary twist in Sydney. 

Eccles' version of Semele would be a real treat to hear anywhere, but especially so for Perth (Western Australia), from the newish Baroque company HIP displaying a wealth of young talent. 

Although abbreviated, Pinchgut Opera's production of Handel's Rinaldo makes a powerful dramatic impact and exemplifies high musical values, with excellent orchestral playing and consistently fine singing.

Unseen since the 18th Century apart from one night in Germany, Legrenzi's Giustino deserves to re-enter the repertoire after its revival by Pinchgut Opera's Erin Helyard.

A wonderful night of late 17th-century music by the somewhat obscure German composer Dietrich Buxtehude is brought to radiant life by Erin Helyard and the Pinchgut Opera company.

Erin Helyard and his cast bring terrifically strong musical values to Charpentier's Médée, but Justin Way's production falters. 

Simone Young  is made of stern stuff. With 30 hours to go before the concert performance, her Leonore falls ill. Can the show go on? 

Ravishing music and performances, a crazy G&S plot, but physicality that tends to distract in Constantine Costi's production.