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Sitting low on the piano stool and with his head gently bobbing from side to side, this is music to listen to on repeat.

Davide Livermore’s high-octane production transforms Handel into a lavish blockbuster. While the superstars shine, the relentless entertainment-first approach often sacrifices musical refinement and dramatic logic for Netflix-style spectacle.

The Baroque confectionery of Herbert Fritsch's production of Handel's oratorio belies a serious core which is all too close to today's headlines.

Maxim Emelyanychev and the Scottish Chamber Orchestra offer a Baroque-inspired programme of Bach, Handel, Britten, a modern take on Scarlatti and wonderfully zany Schnittke.

Guth’s Semele turns myth into a contemporary domestic drama, where desire becomes obsession and illusion consumes reality. Handel’s music remains the true engine, driven by a thrilling, physically intense ensemble.

The Dunedin Messiah, a speciality with Baroque instruments, is given with soloists Nardus Williams, Lotte Betts-Dean, Joshua Ellicott and Dingle Yandell in Perth, directed by John Butt.

A lean Seattle Symphony under guest conductor Ivars Taurins brings stylish energy to Baroque orchestral theater by Telemann, Hasse and Handel.

A rare performance of one of Handel’s choral extravaganzas, given a forthright outing in Hereford Cathedral that highlights the power, if not the subtlety, of music.