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A masterpiece from one of the Neapolitan School's most important protagonists, this rarely heard opera is musically rewarding but confusingly staged.

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.

Nicola Porpora's pasticcio was one of the highlights of the 45th edition of the Festival della Valle d'Itria in Martina Franca.

Vivica Genaux joins Lawrence Zazzo in a concert of arias and duets by Handel and other Baroque composers.

Vivica Genaux enjoys huge success in a Melbourne concert of Baroque delights, the first venture of Sydney's Pinchgut Opera Company outside its home turf.

Max Emanuel Cenčić with Armonia Atenea under George Petrou provide an exciting and satisfying concert at the Halle Handel Festival

Propora's Mitridate at Schloss Schwetzingen lacks dramatic sense (blame librettist Cibber and director Spirei). But exciting music strongly delivered makes a case for more Porpora in the repertoire.

An opera only ever performed once, over 300 years ago. Would this be a marvellous revival, or a reminder of why it has been neglected all this time?

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

Franziska Gottwald's superb mezzo voice and technique combined with dedicated commitment to text makes for a satisfying concert at Rosdorf near Göttingen during the Handel festival

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.

Julia Lezhneva partners with Richard Tognetti and the ACO to deliver a thrilling program of Baroque arias, in which her vocal agility and expressivity are on full display.

Every early music festival these days needs one or more star countertenors in their programme. At this year’s Müpa Budapest’s Régizene Fesztival, Valer Barna-Sabadus was featured together with homegrown soprano Emöke Bárath.

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

The new season at Wigmore Hall launched with a sensitively programmed selection of Handel arias, intelligently played by some of the country's finest Handelians.  

A recreation of the choral sound Vivaldi may have experienced at the Ospedale della Pietà in Venice doesn't quite come off. 

An enjoyable programme of works by Corelli, Scarlatti, Porpora, Bononcini and Vivaldi by the Concerto de' Cavalieri and Marcello Di Lisa.

At the Amsterdam Concertgebouw, Cecilia Bartoli's performance of long-forgotten baroque arias composed for the Empresses of Russian proves that her artistry is unmatched in this repertoire.

A virtuosic display from Franco Fagioli and the Academia Montis Regalis which shone a spotlight on the works of Vivaldi's lesser-known colleague Nicola Porpora. 

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.

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

For the late night prom on Monday, the French early music group Ensemble Matheus led by the flamboyant violinist/director Jean-Christophe Spinosi brought an entertaining and well-juxtaposed programme of baroque arias and concertos starring French countertenor Philippe Jaroussky and Canadian contralto Marie-Nicole Lemieux.

Jorge Jiménez dirigió con carisma un programa original y estimulante junto a los integrantes de Tercia Realidad.

Après son disque Baritenor, le chanteur américain surprend et impressionne encore en interprétant sur scène le programme de son album Contra-Tenor, tour de force vocal qui n'oublie pas la musicalité.

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.

En compagnie de William Christie et ses Arts Florissants, la mezzo Lea Desandre et le contre-ténor Jakub Józef Orliński ont réservé une soirée délectable avec leur programme très original.   

Blockflöte und Countertenor der Extraklasse lassen Gemüt und Ästhetik der neapolitanischen Schule in Herz und Gedächtnis verfangen.

Manchmal bedurfte es eines Sich-Einfindens, letztlich überzeugten Ensemble und Regie aber in bewährter wie einnehmend gekonnter Weise.

Instrumentalensemble und Gesangsduo verzücken mit stupender Stilistik, Einfühlungsvermögen und Affekt. Selten war der vermisste Barock schöner als jetzt – o fons amoris!

Lorsque Max Emanuel Cenčić et Renata Pokupić s'égarent, Peter Van Heyghen garde le cap dans une soirée pour le moins inégale.

Addio Amore ! À la Peterskirche de Bâle, le duo de chanteurs a délivré un concert poignant, brillant ainsi que le Kammerorchester Basel dans le répertoire baroque italien.

L'édition 2019 du Festival de La Chaise-Dieu s'est achevée en apothéose avec l'Accademia Bizantina d'Ottavio Dantone. La contralto Delphine Galou et le violoniste Alessandro Tampieri ont été les deux grandes voix de la soirée.

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.

À Ambronay, Franco Fagioli chantait de sa voix spectaculaire plusieurs grands airs de Porpora et Haendel, accompagné par Alessandro de Marchi et l’Academia Montis Regalis. Un pur joyau.

Lundi 14 juillet, l’ensemble Pulcinella d'Ophélie Gaillard partageait la scène de l’Opéra Comédie de Montpellier avec la Maîtrise de Radio France dirigée par Sofi Jeannin, dans un programme Scarlatti / Porpora. Un concert assez plaisant, fondé sur un répertoire somptueux.