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A veritable Baroque bonanza featuring a top-tier cast and orchestra in an emotionally incisive and handsomely crafted production.

Carsen's modern mise en scène of Handel's opera did not stand out for originality, but for finesse and elegance and that was substantially appreciated by the audience.

With a semi-staged production, directed by Benjamin Davis, the Mahler Chamber Orchestra has also been bringing George Benjamin's opera to concert hall audiences.

Director Davide Livermore updates the plot to the period of the Russian Revolution, October 1917, a far echo of that turning point in 1403 when the Ottoman sultan Bajazet was defeated by the Tartar Timburlaine.

A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?

Andris Nelsons' program pays homage to two touchstones of the French repertory with the Boston Symphony: Henri Rabaud and Pierre Monteux.

Concerto Köln, honed to perfection, and an accomplished cast star in Claus Guth's tense, dark staging of Handel's Jephtha. 

Jens-Daniel Herzog sets his new Orlando in a sanatorium where, pulled between his love for a woman and his passion for war, the protagonist is trying to recover his sanity.

Holland Festival revives Pierre Audi’s 2012 production of Handel’s Orlando. Conducted by baroque specialist René Jacobs and featuring an strong cast, it is a great occasion to witness American countertenor Bejun Mehta in what has become, over the past decade, his signature role.

The Stepford wife, the doubting priest, the guilt-ridden adulteress, the family black sheep and the outsted, suicidal CEO:  staples in television dramas but surprising finds in Handel oratorio.

One thing is for sure: whether you like Baroque opera or not, you will never be bored by an opera conducted by René Jacobs. By shaking up convention with his subtle readings, sometimes even rewriting the composer’s score, the Belgian conductor is the one of those rare few who always find an elegant way to bring the repetitive mannerisms of the Baroque to life.

21st century opera is a broad church. There aren’t many of us, I suppose, who are intimately familiar with the biographical accounts of the lives of 13th century troubadours, popular at the time in Spain and south west France. But Martin Crimp and George Benjamin, librettist and composer of Written on skin, aren’t exactly run of the mill people.

In Pierre Audi’s new production of Handel’s Orlando, currently running at La Monnaie in Brussels (until 12 May, and thereafter available free online on their website for three weeks), the knight Orlando is portrayed as a modern-day fireman who in his fascination with fire has become an arsonist – “pyromane” as Audi explains in the programme.

Nikolaus Harnoncourt is the elder statesman of the historical performance movement and one of the pillars of Vienna’s musical scene.

Stefan Herheim legt Händels Oratorium ins Wiener Café Central – verführerisch wie die Kuchenvitrine.

Lebendiger kann eine 300 Jahre alte Oper nicht sein. An der Staatsoper Unter den Linden wurde Monteverdis Oper in der großartigen Inszenierung von Eva-Maria Höckmayr wieder aufgenommen und begeisterte erneut das Publikum.

Mit einer verwunschenen Inszenierung zieht Damiano Michielettos das Publikum im Theater an der Wien einmal mehr in seinen Bann.

Un equipo artístico totalmente inspirado ha engendrado una de las mejores producciones de la temporada en el Teatro Real

Pour pénétrer dans l’univers de Georges Benjamin, acceptons d’éprouver l’impermanence des climats, de l'écriture, qui joue un peu de sa virtuosité. Avec la 1e Symphonie de Brahms, c’était également l’occasion pour Harding de densifier la pâte orchestrale et faire chanter les voix intérieures. Il s’en est magnifiquement tiré.