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In the intimate setting of Lauenen Church, Agnew and Les Arts Florissants introduce us to the austere sound world of Marc-Antoine Charpentier and other French composers of 17th-century sacred music.

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

Charpentiers “biblical tragedy” exudes energy, with Reinoud van Mechelen an outstanding David and fabulous period playing from Gaétan Jarry and his Ensemble Marguerite Louise.

Not quite ready for a full-blown opera, but Sydney's Pinchgut maintains its historically informed purity with a delicately expanded version of Charpentier's Messe de Minuit.

Opera Atelier presents a double bill at the Royal Opera in Versailles filled with Baroque dancing, scenery and music.

A Lenten programme of 17th-century French and Italian sacred music partially fulfilled its dramatic potential in refined, understated performances. 

From devoted wife and mother to murdering avenger, Médée is is a challenging role. A new Zurich production firmly secures her place in the collective memory, perhaps for the wrong reasons.

A thrilling programme of church music for the French court by du Mont and Charpentier, performed by Ensemble Correspondances.

Christophe Rousset leads Les Talens Lyrique in a double Baroque bill: Charpentier's Acteon and Purcell's Dido and Aeneas.

Ensemble Correspondances give a virtuoso display of polychoral music from Marc-Antoine Charpentier and his Italian contemporaries.

Taking the scenic riverside tram route to Müpa in Budapest, you cannot but be impressed by the magnificent legacy of the Habsburgs in this beautiful historical city.

Mark Padmore gives a matchless demonstration of English singing as he and the English Concert follow 18th century historian Charles Burney on his travels around Europe.

Closing your eyes while listening, you could easily imagine yourself in a gilt-edged salon, with Her Highness Mademoiselle Marie de Lorraine, Duchess of Guise, peer of France, princess of Joinville, hereditary seneschal of Champagne herself sitting not far from you, enjoying and approving every lovely note.

Parisian romance from Opera North for Valentine's Day, from La bohème to Orpheus via café chansons. 

For almost two decades, Opera Lafayette has been known to DC opera fans as a period-based ensemble reviving long-forgotten gems of French Baroque and Rococo chamber opera repertoire. On Thursday night, the Kennedy Center’s Terrace Theater hosted Opera Lafayette’s most recent creation: its production of Marc-Antoine Charpentier’s pastorale/tragédie en musique Actéon.

New York is again lucky to host William Christie and Les Arts Florissants at the Brooklyn Academy of Music. Their visits are always special, and it’s not just because the unique nature of their repertory – Baroque opera, usually French, which is neglected by most of New York’s major companies – nor the virtuosic ease with which they embody this otherwise-foreign idiom.

When going to see a new production at ENO, always expect the unexpected. In ENO’s recent history, that has certainly been true, though not always to its credit. Friday’s opening performance of Charpentier’s Medea was no exception to the rule; however, in this case, it was an opulent, stylish and fabulous (in more than one sense) production, complemented by a truly spectacular cast.

The choir of Les Arts Florissants is composed of some of today’s most dynamic singers, who can sing, act, and even appear in two places at the same time. Well, in a matter of speaking.

One of the most sophisticated offerings in the 2012 Festival d’Aix-en-Provence is a new production of Marc-Antoine Charpentier’s David et Jonathas.

‘Fêtes Galantes’ is one of those glorious French phrases that sounds so wonderful but is nigh on impossible to translate. Rather than having any concrete meaning, it evokes Watteau-esque imagery of woodland gatherings, where eighteenth-century aristocrats amuse themselves by flirting, dancing and making music.

An anniversary is undeniably a time for celebration, a time to reflect on past accomplishments whilst keeping the future in close view. This was the case for Tafelmusik’s Chamber Choir on the eve of their 30th anniversary.

Luring England's David Briggs back to his native soil and under the soaring arches of Truro Cathedral is hardly a monumental feat when tempted by the works of Fauré, Poulenc and Charpentier, as well as a performance of his own Requiem.

Orpheus and Euridice – A timeless Greek myth forever ingrained into the classical music repertoire. Since the very beginnings of operatic history, this heartbreaking and beautiful tale has endured numerous adaptions.

Entitled “Monteverdi, Opera and Beyond”, lyric tenor and baroque specialist Paul Agnew devised a 90 minute programme exploring the role of recitative in Monteverdi’s opera and its influence on seventeenth-century English and French operatic music.

Les Épopées, sous la baguette de Stéphane Fuget, offrent à Marie-Nicole Lemieux une première incursion dans le monde du baroque français avec une certaine réussite.

Avec les psaumes de Charpentier et le Requiem de Campra, William Christie et les Arts Florissants montrent leur habituel savoir-faire mais également l'évolution qu'ils ont suivie depuis trente ans.

In meiner Geschichte mit dem Festival eines der gelungensten Konzerte unter Leitung Hermann Max', das glücklich und wieder Hoffnung auf Kommendes machte.

Véronique Gens revient au baroque français cher à ses débuts et propose avec l’ensemble Les Surprises un florilège de pages de Lully et de ses successeurs. 

Le drame de Charpentier est saisi en un long plan séquence d'une cinquantaine de minutes. Une narration visuelle très réussie, malheureusement desservie par une réalisation musicale qui manque de sens.

Reinoud van Mechelen se rejoint avec l'ensemble de William Christie pour un tour de la musique française du 17e siècle.

Belle démonstration du Concert Spirituel et de son chef Hervé Niquet dans un programme 100% Charpentier, pour célébrer le 350e anniversaire des Invalides.

El conjunto de voces blancas Niños Cantores de Viena, acompañado por su director Manolo Cagnin, ofreció un concierto en Madrid con un ecléctico programa.

Les ensembles A Nocte Temporis du ténor Reinoud van Mechelen et Vox Luminis de la basse Lionel Meunier joignent leurs forces salle Gaveau dans un superbe programme 100% Charpentier.

Les Arts Florissants celebra su 40 aniversario con un excelente concierto en torno a un programa de grandes nombres del Barroco.

Vox Luminis gelingt mit B'Rock ein passender, königlicher Lobpreis zum Erwachen der Natur.

El grupo francés Le Concert d’Astrée, dirigido por su fundadora Emmanuelle Haïm, interpretaron un programa de fragmentos operísticos de dos compositores fundamentales en el desarrollo de la música francesa: Marc-Antoine Charpentier y Jean-Philippe Rameau. Lo hicieron de la mano de una de las mezzosopranos más destacadas en el panorama internacional, Magdalena Kožená.

Les Musiciens de Saint-Julien ont invité les Petits Chanteurs de Saint-Marc à célébrer les chants traditionnels de Noël à la Chapelle de la Trinité de Lyon : un ravissement pour les amateurs de Charpentier, Delalande, Daquin et Corrette et une découverte des noëls bressans, québécois ou poitevin.

Judith, Madeleine et Cécile : sacrées histoires ! Charpentier charme la Chapelle de la Trinité à Lyon

William Christie dirige a la ONE en un programa de obras de Charpentier y Rameau

L'Auditorium de Lyon et le Festival d'Ambronay ont offert une très belle soirée au public venu écouter les Te Deum de Charpentier et de Lully mercredi 30 septembre. De quoi réconcilier les deux compositeurs la veille de la date anniversaire de la mort de Louis XIV !

L'ensemble Correspondances et Sébastien Daucé au festival d'Ambronay. Au programme, des oeuvres de Charpentier autour du thème « La Victoire de Milan ». Un concert captivant, somptueux, bouleversant.

Lundi 25 août à 21h, dans le cadre du festival de La Chaise-Dieu, l’ensemble Correspondances de Sébastien Daucé proposait à l’église des Carmes du Puy-en-Velay un programme consacré à l’œuvre de Charpentier. Une lecture extrêmement profonde d’un répertoire encore largement méconnu.