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Simple solutions prove the best in Beethoven's "problem" opera as John Cox's staging is revived at Garsington.

Ruth Knight untangles Handel's Rodelinda, directing a new staging at Garsington which features a feast of fine singing. 

A superb orchestral performance from Paul Agnew and The English Concert lights up a breezy and fun staging of Rameau's ballet bouffon.

The London Handel Festival offers a chance to hear rarely performed music for Passiontide, with Harry Bicket conducting the English Concert. 

With two cantatas for solo alto bookending the Third Brandenburg Concerto, The English Concert bewitches in this late-night all Bach programme. 

A scintillating account of an all-Mozart programme at St Martin-in-the-Fields with a mighty concerto, a mightier symphony and one of his more unusual overtures.

Robert Murray excels as the eponymous king in the opera seria that cemented the 14-year old Mozart’s position as the next big thing. 

Come for the shave, stay for the comedy. Christopher Luscombe's new production of Rossini's beloved opera buffa avoids overcomplicating the plot, letting the work's humour and the abilities of the principals shine. 

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

The five female voices in the opera's main roles complement each other wonderfully in this more-than-concert performance in New York. 

A selection from L'estro armonico performed in the Music Room in the Rosen House at Caramoor.

As part of 'London Unwrapped', countertenor Iestyn Davies presented vocal portraits of the altos – male and female – for whom Handel composed in the capital. 

A concert performance of Handel's not-quite-an-opera proves a hit on tour in New York. 

Even without stage machinery or sets, The English Concert’s performance of Handel’s Rinaldo was enchanting. 

There were plenty of vocal fireworks in this concert performance of Handel’s opera. 

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. 

A probing, exultant and musically tireless performance from The English COncert.

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.

The English Concert give us a truly exceptional concert performance of Orlando, starring Iestyn Davies in the title role, with a strong cast and glorious singing: but it's begging for a proper staging. 

Mark Padmore gives a matchless demonstration of English singing as he and the English Concert follow 18th century historian Charles Burney on his travels around Europe.

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.  

The English Concert play beautifully, the chorus is in superb voice, but a disjointed cast of unconvincing singers mean Hercules never reaches heroic heights.

A star-studded Alcina delights at the Barbican, though remains less than the sum of its considerable parts. 

Beautiful sacred vocal music by Vivaldi and Pergolesi, performed by Roberta Invernizzi, Sonia Prina and the English Concert.

Profound, fair and thought-provoking, Handel's Theodora argues for faith as a personal journey, not a political decree. The English Concert brought their rendition to the Barbican Centre in London.

The English Concert and Harry Bicket bring Theodora to Carnegie Hall, with Dorothea Röschmann, David Daniels and Sarah Connolly.

Bach's finest masterpiece brought to Malta in an amazing interpretation, with The English Concert and Harry Bicket.

Shakespeare’s Globe is currently hosting playwright Samuel Adamson’s Gabriel, described as “an entertainment with trumpet”. Alison Balsom, the internationally recognised trumpeter and creative producer of this show, presented musical extracts from Henry Purcell’s The Fairy Queen, King Arthur and Dioclesian, along with many other odes and songs by Purcell and other Baroque composers.

Handel’s Radamisto has an improbable plot (although average by Baroque opera standards) which can make it difficult to stage. The most recent staging in London was the ENO production in 2010, which had a largely abstract setting.

J.S. Bach’s Mass in B minor was described by its first publisher as “the greatest musical work of art of all times and nations”. It’s also the culmination of one man’s great life of musical creativity, and a great personal statement of faith.

It is not often you find Monteverdi and Stravinsky snuggled side-by-side on the same programme, but that was exactly what was packed into the latest instalment of The Bostridge Project: ‘Ancient and Modern’ series at the Wigmore Hall.

17th Century Europe witnessed the rise of Italian opera and French ballet. These forms, and the distinct musical language of their composers, were highly influential on the music of England and Germany. The cosmopolitan music of Henry Purcell made up the bulk of The English Concert’s program, along with two instrumental works by his German contemporaries Heinrich Biber and Georg Muffat.

Piano. Concerto. Opera. The Italian origins of these well-known musical words hint at the enormous influence that country had on the musical world during the Baroque period, when classical music as we know it began to take shape. The scale of this influence was explored last night by Ian Bostridge, tenor and former historian, in the first concert of his year-long residency at the Wigmore Hall.

This near sell-out concert at the Barbican was intended as a purely vocal programme, ranging from 1710 to 1736 and featuring two female vocalists accompanied by baroque specialists The English Concert. Expertly led from the organ by Harry Bicket, the orchestra played with spirit and their rendering of Handel's Concerto Grosso Op.

La production a connu une première à l'arrière-goût d'inachevé, un préavis de grève ayant transformé la nouvelle production de Robert Carsen en version de concert – non sans qualités cependant.

El tono solemne representado en el ritmo majestuoso de los primeros compases ya prefiguró el carácter del héroe, y en la consiguiente fuga tan claramente articulada se anunció un cierto color festivo que anunciaba un conflicto que, a la postre, habría de resolverse felizmente.

In einer konzertanten Aufführung hat sich The English Concert unter der Leitung von Harry Bicket in der Elbphilharmonie der Händeloper gewidmet und bot mit einem Sänger-Ensemble eine rasante und gefühlsbetonte Barockoper der Spitzenklasse.