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A decidedly different Stabat Mater gets expert treatment from Collegium Marianum and two spirited soloists.

The singer-actors of this lively Neapolitan opera are entangled in a farcical plot in the Teatro alla Scala's revival of the genre.

The Argentinian, one of the greatest countertenors of his generation, is today's specialist in the repertoire of Neapolitan composer Leonardo Vinci. 

Cecilia Bartoli sang arias written (and not written) for Farinelli like a goddess, putting on and taking off a parade of varigendered costumes to the jubilant virtuosity of Les Musiciens du Prince.

Historically informed rarities from Rameau and Vinci aim to recreate the world of 18th-century opera-going in Paris. But a misaligned production distracts from this specialised experience.

Ann Hallenberg dazzles at the Halle Handel Festival with a programme of newly discovered gems from the Venice Carnival of 1729.

Joined by the exquisitely subtle Accademia Bizantina led by Alessandro Tampieri, Scholl brought little-known but no less great devotions to the Virgin Mary to life with impetus and intimacy.

Metastasio's Didone abbandonata has been set to music at least sixty times. Florence revives a version by Leonardo Vinci composed in 1726.

Words definitely took second place to music in Franco Fagioli’s recital of Baroque operatic arias performed by the great Italian castrato Caffarelli.

The sensational countertenor Franco Fagioli led an all-male cast in an extravagant staging of Vinci's Artaserse, a neglected Baroque opera,  at the Royal Opera House at Versailles.

In Montreal Richard Turp discovers a modern-day Pied Piper of Hamelin, Maurice Steger in music of 18th century Naples accompanied by Les Violons du Roy 

Picture a warm May evening, walking the narrow, silent, cool streets of the ancient capital of Malta, then sitting amongst a magnificent collection of 17th- and 18th-century art with a promise of secrets!This was the setting for a concert – no, in fact, a spectacular – held on Friday 10 May at the Cathedral Museum, Mdina.

A cast of five countertenors and one tenor performing an opera by Handel contemporary Leonardo Vinci may look like a long evening to those who don’t appreciate the high male voice, but Baroque lovers hoping for a triplet and trill fest as well as some vocal drag got all they wanted in this concert version of Artaserse.

Accompagnée par un Concerto Köln en grande forme, la soprano proposait un habile jeu de miroirs où des héroïnes emblématiques de l'opéra baroque italien apparaissaient sous des jours différents selon les compositeurs.

Accompagné du Gabetta Consort, le contre-ténor déploie une santé vocale de feu dans un récital consacré principalement à des airs de Vinci et Haendel.

Orkiestra Historyczna und Sopranistenfestival begeistern gänzlich in dieser wiederentdeckten Barockopern-Rarität.

So macht Karneval auch für einen Nichtjecken Spaß: barocke Unterhaltung mit Eleganz, Klarheit und Klasse.

Si Max Emmanuel Cencic est l’un des contre ténors les plus en vue de notre époque, cette soirée laisse sur sa faim.

Eine grandiose Besetzung, angeführt von Franco Fagioli, Juan Sancho und Max Emanuel Cencic, machte einen langen Abend zum Sängerfest.