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With dazzling set designs and powerhouse sopranos, Karlsruhe’s Rinaldo upholds the opera's Baroque fantasy allure in a flawed yet fascinating production, conducted by Rinaldo Alessandrini. 

Several notable house debuts, including the renowned director and choreographer Sabuto Teshigawara, enlivened the New National Theatre's first-ever production of Gluck's opera.

A new, insightful production by Robert Carsen gives life to Handel’s early oratorio at the Salzburg Whitsun Festival, with a magnificent cast led by Cecilia Bartoli.

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

Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.

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

Handel’s opera Orlando is famous for the great mad scene at the end of Act 2. Specifically written for the celebrated castrato Senesino, it’s an emotionally powerful ten-minute monologue.

An outstanding cast under Ottavio Dantone at the Theater an der Wien was headed by Lawrence Zazzo and Emőke Baráth.

With Lawrence Zazzo's spectacular counter-tenor voice, Handel's Orlando finds an ideal interpreter.

A trip down memory lane sends our man in Aix into raptures as Robert Carsen's production of Britten's A Midsummer Night's Dream comes home to Provence. 

Symphonie Altlantique, a period orchestra composed of young professional musicians based in The Hague, gave a very engaging performance of Handel’s Giulio Cesare at the Concertgebouw in Amsterdam. 

Roman mythology bumps into Buddhism, not always comfortably, in Zhang Huan’s production of Handel’s Semele at the Brooklyn Academy of Music.

As part of Spitalfields Winter Festival, Lawrence Zazzo and La Nuova Musica presented a beautifully curated programme of operatic gems by Handel and his lesser-known contemporaries Bononcini and Ariosti.

Of the seventeen operas Handel wrote to star the Italian castrato Senesino, Giulio Cesare in Egitto is the most popular, and the one performed most often. It is a dramma per musica filled with ironic hints, and based on power and sex intrigues in ancient Rome. The 38-year-old Handel wrote it in England when his imported Italian-style operas started to fall out of favour.

Question: how do you demonstrate to a sceptical audience that baroque opera seria doesn’t have to be boring? To answer this, the organisers of Sommets Musicaux and David Greilsammer, conductor of the Geneva Chamber Orchestra came up with a programme consisting of four Handel arias interspersed with orchestral passages from French baroque opera, these chosen for their variety and dance-based charac

The full name of Handel's opera is Giulio Cesare in Egitto: it depicts a historically loose version of Caesar's sojourn in Alexandria, during which Pompey is murdered, Ptolemy is killed in battle and Cleopatra is installed as Queen.

Mozart wrote the opera seria Mitridate at the age of fifteen. The Bayerische Staatsoper’s clever and strangely beautiful production positions it as the work of a child, full of rebellious teenagers and projected scenery seemingly drawn from a primary school art class.

Handel’s opera Radamisto received a welcome staging at the English National Opera last Thursday, following on from their successful productions of Agrippina and Partenope in recent years.

Avec son Insula Orchestra et son chœur accentus, Laurence Equilbey est à la baguette d'un splendide concert Haendel où se distingue également la soprano Chiara Skerath.

Draußen ein goldener Oktobertag, drinnen ein Titelpaar mit innerer und äußerer Ausstrahlung, das Händels Oper Giulio Cesare in Egitto zu einem farbigen, eindrücklichen Schauspiel machte.

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

Erneut fährt das Regieteam um Tilmann Köhler mit einer Händel-Oper in Frankfurt einen enormen Erfolg ein; Canstantinos Carydis dirigiert mit beeindruckender Sensibilität.

Mercredi 13 janvier 2016, l'opéra de Haendel Partenope était proposé au TCE par Il Pomo d'Oro, dirigé avec une grande sensibilité par Maxim Emelyanychev. Parmi la distribution vocale de rêve, Karina Gauvin et Lawrence Zazzo. Résultat : un merveilleux moment de plaisir !

Musikalisches Effektfeuerwerk erorbert Kölner Hochburg mit hervorragenden Solisten und perfektem B'Rock Orchestra unter René Jacobs.