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The Academy of Ancient Music puts composer Dario Castello in the spotlight and in context in this live stream from the West Road Concert Hall in Cambridge.

Richard Egarr conducts a pair of Haydn's London Symphonies and turns soloist in a piano concerto by Dussek.

A mixed programme of Corelli, Handel and Pergolesi brings beauty and spiritual intensity, as well as some empowered erotic playfulness, to an evening with the Academy of Ancient Music. 

A joyous explosion of tuneful Victorian satire provides an unlikely, yet ideal, contrast to English Touring Opera's Tosca as their Patience tours the UK in this finely-cast, period-perfect production.

Music written by Bach for the Collegium Musicum, and also for the first Sunday after Easter, was played with skill and flourish by this exceptional orchestra;  sadly, the singing was not consistently good enough to match. 

A skilfully programmed evening of Italian Baroque music gave us a Christmas concert with a difference – and, thanks to superb playing from Spiritato!, an immensely enjoyable one. 

An exciting new partnership between Owain Park and Cambridge Chorale got off to a good start with a first concert of Bach and Parry. 

The Academy of Ancient Music gave a finely honed account of Handel's unusual "little opera", written for the Earl of Carnavon's household musicians: a sweet pastoral offering never yet out of the repertoire. 

An evening of Lieder with James Gilchrist and Anna Tilbrook promised well, and did deliver occasionally, but sadly enthusiasm got the better of style more than once. 

A gorgeous evening of supremely confident, and well-executed, Elizabethan choral music from exciting Belgian choir Vox Luminis.

A magical, brilliantly conceived programme of Byrd, Tallis and Arvo Pärt

Clyne, Ligeti and Pärt sit down with Bach and Scarlatti for a spot of lunch!

La Serenissima bring a fresh interpretation to a seasoned classic in Cambridge.

A superbly-sung title role from Ed Ballard is the best part of this otherwise patchy, well-sung but ultimately unmoving Werther from English Touring Opera. 

A beautiful and much-put-upon princess, a pair of royal lovers who have never met, a scheming mother, and a pirate who is a prince in disguise: Ottone is a feast of ideas, beauty and fun. 

The programme notes for The Sixteen’s 2013 Choral Pilgrimage draw attention to how composers have been inspired by the grandeur and beauty of their places of worship and work. In this context, the setting for The Sixteen’s concert in Oxford was more than suitable. Completed in 1200, Christ Church Cathedral is a mixture of Romanesque and Gothic architecture.

The word 'prodigy' is unavoidable when writing about Benjamin Grosvenor, or so it appears for the headline writers. Having eschewed many big concert dates and growing as an artist in smaller halls, he is clearly setting himself up for the long haul. This ambitious, sold-out Cambridge concert showed both how brilliant a pianist he already is, and hinted at how far he could go in the future.

How tempting it can be for the aficionado of German Lieder to stay at home and never to go to concerts. He (yes, it is normally a he rather than a she) can retreat into his LP and CD collection, and convince himself that the great recordings of a Dietrich Fischer-Dieskau or an Elisabeth Schwarzkopf cannot be surpassed.

Bach's Brandenburg concerto No. 3 (BWV 1048) doesn't have a slow movement. In the place where you would normally expect to find one, what's written out is just two chords. And in most modern performances, those chords get a perfunctory embellishment, a quick bit of a cadenza, and on we go. That's the shape in which the piece now sits in the classical canon, so nobody expects more than that.

Vor allem bei Händel hatten sich neue und alte Partner und Freunde gefunden, die in ihren Tanzschritten die momentane Schwere vergessen machten.