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The collaboration of Opera North and South Asian Arts is a thrilling celebration of renaissance opera and Indian classical music.

Laurence Cummings and The English Concert deliver musical excellence in a wonderfully designed and choreographed production.

On Easter Monday, this year's London Handel Festival came to a close with Handel's youthful oratorio La Resurrezione in the suitably Baroque setting of London's St Martin-in-the-Fields.

There was a celebratory atmosphere to launch the 2022 festival, including royal fireworks and coronation anthems, but it was Ukrainian mezzo Anna Starushkevych who provided the evening's most moving moment. 

Alcina also disappoints as a showcase for sustainable opera, despite that being Opera North’s pledge for this production. 

A delightful performance of Haydn's oratorio, streamed from the Barbican all the way to our reviewer in Australia. 

Handel's Rodelinda comes to Göttingen a year after the planned centennial anniversary event, but is worth the wait with respect to musical values led by conductor Laurence Cummings with Anna Dennis in the title role.

Handel’s Messiah is not too re-imagined, thankfully, with an almost Crystal Palace sized choir although not all singing at once!

Lawrence Cummings conducts Zurich’s Orchestra La Scintilla in Handel’s oratorio-cum-opera, Belshazzar. The music was celestial; the staging was a bombastic mix of excess and vaudeville.

Centuries can envelop a musical masterpiece in a cocoon of misconceptions and false interpretations as much they leave their mark in the form of dirt and grime on a painting’s surface.

Laurence Cummings conducting the FestspielOrchester Göttingen and the NDR Chor, with an exemplary suite of vocal soloists, but a slightly problematic venue, sweep all before them in the Handel Festival of 2020.

Visual eye candy, excellent singing and superb Handelian playing by Laurence Cummings and the London Handel Orchestra are marred by poor diction and limited acting expressivity.

Royal Academy Opera maintains its usual high standards in a production of Handel’s operatic oratorio, a showcase for the singers of the future.

Barrie Kosky's punchy, visually exhilarating take on Saul, with Iestyn Davies as a sublime David, makes for a powerful evening of drama at Glyndebourne.

This year’s Gala Conzert at Göttingen featured two different works not commonly heard and certainly not together, with excellent soloists and the Christ Church Cathedral Choir

Laurence Cummings leads the FestspielOrchester Göttingen, the NDR Choir and an exemplary set of soloists led by in a definitive performance of Handel's oratorio.

A compelling and energetic debut production from a new opera company in the raddled surroundings of Wilton's Music Hall.

The fashion for reviving Mozart's teenage operas brings a vocally dazzling production of Lucio Silla to Buxton, nevertheless hampered by the work's own lack of believable drama and some fairly flat staging. 

Brockes-Passion is becoming not quite the performing rarity it once was, and this outstanding performance at the Göttingen Handel Festival this year could hardly be bettered.

Handel's Opera Lotario is the centrepiece for this year's Göttingen Handel festival, receiving warm acclaim on its opening night.

The return of Dominique Labelle to the Göttingen Handel Festival produces a concert to treasure, the highlight being Telemann's dramatic cantata Ino.

Salvation sweetness and light in DC's annual Messiah.

Laurence Cummings and the Orchestra of the Age of Enlightenment celebrate two anniversaries in a programmed of works by Johann Sebastian Bach and his sons. 

Handel's psychotic Tartar leader and bedhopping nobles are well served in an excellent collaboration between the Buxton Festival and the English Concert with some outstanding singing from Marie Lys and Owen Willetts.

Historically informed baroque gestures and ballet additions: Handel's only operetta gets a rare airing and a musical makeover in Sigried T'Hooft's new production for Gottingen's International Handel Festival.

Handel's Susanna at the Göttingen International Handel Festival is unforgettable, a revelation.

Englishman Laurence Dale’s Göttingen Festival production of Handel’s Agrippina, now presented in the second Brisbane Baroque Festival, is based on the political void between appearance and reality. 

An impressive display of singing technique isn't enough to make RCM's Ariodante connect with hearts and minds.

King Arthur, an action-packed five-act semi- or "dramatick” opera with music by Henry Purcell and libretto by John Dryden, took on an entirely new face at its recent Zurich première.

Barrie Kosky's production, revived for the tour, turns Handel’s 1739 Old Testament oratorio Saul into a gripping psychodrama. 

A reconstruction of a long-lost opera by Handel gives some exciting young singers the chance to shine at the London Handel Festival, even if the plot might be better back in the mists of obscurity. 

Is Handel’s Semele an oratorio or an opera? Of course Handel himself called it an oratorio but some suggest it is the English-language opera that he never wrote. 

In Peter Sellars' reconstruction of Purcell's unfinished semi-opera The Indian Queen, fine vocal performances are spoilt by indifferent staging and choreography and an embarrassing retelling of the Conquistador story.

Laurence Cummings and Royal Northern Sinfonia round off their week of Bach concerts at Sage Gateshead with joyful orchestral music, and Bach's miniature comic opera.

Laurence Cummings and Royal Northern Sinfonia present Bach's musical world in miniature in a programme of chamber music by Bach and his contemporaries.

"Glorious Bach" offered up exactly what it said on the tin as Royal Northern Sinfonia, with their guest conductor, baroque specialist, Laurence Cummings delivered some of Bach’s happiest music in a radiant and unfussy way.

Opera North's static production of Monteverdi's The Coronation of Poppea directed by Tim Albery takes place in a murderous psychopath’s private cellar. 

As a highlight of this year's London Handel Festival, the composer's rarely heard oratorio Deborah was given a strong and committed performance by Laurence Cummings and a fine cast.

Despite a disappointingly static production, the cast shine in the Royal College of Music's producion of Handel's rarity Arianna in Creta.

The culmination of the London Handel Festival is a much anticipated event, and tonight’s performance of Handel’s radiant composition L’Allegro, il Penseroso ed il Moderato was no exception. With an array of eminent musicians performing to a packed St George’s, Hanover Square, the mood was celebratory and the performance had a glow and energy that suited Handel’s mercurial music.

Imeneo (1740), Handel’s penultimate opera, is atypical on several fronts. It’s relatively short by Handel’s standards (three acts, under two hours of music); the plot is thin, but not as absurd or complicated as those of some of his other operas (there are no disguises, for example); the title role is composed for a bass; and the opera has a chorus which participates in the plot, rather than just

Written in the late 1740s, Judas Maccabaeus was a clever attempt by the ever-wily Handel to capitalize on recent successes, both his own – in the form of the now-established oratorio concert – and that of the nation, in the wake of the recent victories over Bonnie Prince Charlie’s Scottish rebels.

Although I never had the pleasure of attending Garsington Opera in its original setting in Garsington Manor, I was very impressed by their new premises at Wormsley, Buckinghamshire, with their spectacular-looking and also comfortable opera pavilion.

Probably no other work in the repertoire has such mystical status as Bach's Matthew Passion. Phrases like "The Greatest Work in the Western Canon", trip glibly off the tongue while failing to illuminate its greatness or acknowledge its strangeness. It is the sacred cow of sacred cows.

Riccardo Primo, Re d’Inghilterra (or in English, Richard I), is Handel’s only opera based on the story of an English monarch, and it was premiered in the coronation year of King George II in 1727 (although in fact it was composed the year before but postponed).

If you love Bach – and who doesn’t? – Birmingham was the place to be this weekend, for a delicious series of concerts, lectures and discoveries at the Town Hall and Symphony Hall under the heading ‘Bach: A Beautiful Mind’.

Glyndebourne has a great track record with staging Handel’s works. In recent years, there have been great productions of Theodora, Rodelinda and Giulio Cesare, all of which have proved equally popular at subsequent revival and Glyndebourne on Tour (GTO) productions as well.

A true highlight of this year's London Handel Festival was a performance of the dramatic oratorio Saul, featuring a large cast of young soloists, including several previous finalists of the Festival's annual singing competition, all now getting well established in their solo careers.

This week, the annual London Handel Festival, now in its 34th year, opened with a new production of his opera Rodelinda.