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All too often opera in concert is presented in its most basic format, without the theatricality and staging so characteristic to its execution. However, when a presentation comes along from the likes of The King’s Consort, you can be sure that justice will be served, even without the smoke and mirrors we’ve all grown to love.

The Amsterdam Baroque Orchestra summoned the spirit of the holiday season this weekend with their performance of Johann Sebastian Bach’s Christmas Oratorio. The work was originally composed for church services taking place during the Christmas season of 1734. Tonight’s performance featured the entire work, which was originally split into six sections, each intended for a different day.

The world’s largest gathering of early music artists and professionals, the Festival Oude Muziek Utrecht, marked its final concert on Sunday 2 September with a full-house performance by the Collegium Vocale Gent. Led by Philippe Herreweghe, the ensemble has been dedicated since the 1970s to the pursuit of Baroque sonorities and performance practice.

There are some concerts where you are confronted with the same emotions from start to finish, concerts with pieces that have a similar feel and similar impact throughout. Tonight’s concert was not one of those: it varied from funny (Jeux), to serene (Prélude), to confusing (Concerto for piano and winds).

Even though I’ve been to quite a lot of concerts these past few years, I still can’t put my finger on why some concerts attract many attendees and especially why some are so sparsely visited.

Zoltán Kodály was an ethnomusicographer as much as a composer: he studied the folk music of Hungary, and this influence can be heard in most of his works. Dances of Galánta is no exception, yet it is so much more than folk melodies arranged for an orchestra.

Sergei Prokofiev’s Ouverture on Hebrew Themes is a 1919 work originally written for clarinet, string quartet and piano, although the composer himself orchestrated it in 1934.