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La Venexiana turns Wigmore Hall into a palace somewhere in 17th-century Italy for a delightful lunchtime recital. 

The impressive Italian baritone features in a tour of Renaissance and Baroque Italian works with the Australian Brandenburg Orchestra in Melbourne.

In his 1995 book Text and Act, the musicologist Richard Taruskin wrote of the historically-informed performance movement, “the very recent concept of historical authenticity is implicitly projected back into historical periods that never knew it.

Though they play Baroque music, the ensemble L’Arpeggiata is more like a jazz band than a traditional orchestra. Anchored by a continuo (rhythm section?) led by artistic director and theorbist Christina Pluhar, they are joined by various other instrumentalists, singers, and even dancers, fitting each of their projects.

In sporting parlance, the "dream-team" of countertenor Iestyn Davies and Richard Egarr at the harpsichord came together last night for a Wigmore Hall concert held to mark the 10 years directorship of John Gilhooly, and was the perfect representation of his decade at the helm: singer + harpsichord, immaculate programming, consummate musicianship, scholarship, unheard-of treasures, blended with a da

Eine typische Jamsession der Steenbrinks durch die Jahrhunderte, deren glückliche Energie zusammen mit Luciana Mancini zum Austreiben mancher Sorgen beschwörte.