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On the basis of this concert, the graduate ensemble Juilliard415 (named after the standard Baroque pitch of 415 Hz) is already of extremely high quality indeed, technically proficient and highly in-tune with Baroque style.

Nicholas Kraemer led the Chicago Symphony in a spirited program of Handel that included some rarely heard vocal works with the chorus and soprano Amanda Forsythe.

William Christie named this Salle Pleyel concert “Music for Queen Caroline”, a moving tribute to Handel’s friend, protector and patron, Queen Caroline of Great Britain.

At one point in the classic 1950 film All About Eve, the inimitable theatre critic Addison DeWitt speaks reverently of his art as critic: “I have lived in the theatre as a Trappist monk lives in his faith. I have no other world; no other life – and once in a great while, I experience that moment of revelation for which all true believers wait and pray.

The Academy of Ancient Music has been critically acclaimed in pursuing Baroque composers’ original stylistic intent, and this gave tonight’s concert the prospect of a faithful look into the period of 1650-1750. Here are a few of my highlights from this varied Robeco Summer Concert in the Concertgebouw in Amsterdam.

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.

Überzeugten gewohnt raffinierte Gestaltung reines Instrumentalen und Johannsens Solistischen im ersten Abschnitt, trübten Balanceprobleme und – das Niveau beachtend – auch danach hinzukommendes Verschenken von Möglichkeiten die Aufführung.

Ian Bostridge und das Orchestra of the Age of Enlightenment beweisen sich als Advokaten Telemanns und Händels im großen Saal des Wiener Konzerhauses.