En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Locke

Le Concert de l'Hostel Dieu et quatre brillants chanteurs ont superbement illustré, sous la direction de Franck-Emmanuel Comte, les liens artistiques unissant les deux rives de la Manche au XVIIe siècle.

La rencontre entre John Butt et l'Academy of St Martin in the Fields est un rendez-vous manqué, à peine rattrapé par la belle interprétation de pièces d'Errollyn Wallen.

Pour sa 70e édition, le Festival de Menton s'est ouvert sur la thématique des éléments. À la tête du Concert des Nations, Jordi Savall a proposé une interprétation riche et incarnée.

La venue de Jordi Savall à la salle Pleyel est toujours un événement très attendu. Lundi 7 avril, il donnait avec son ensemble Le Concert des Nations un programme sous-titré « Tempêtes, Orages et Fêtes marines (1674-1764) ».

Zwar nicht ganz original englisch besetzt, doch beeindruckten Orchester und Chor bei der abermaligen FEL!X-Eröffnung mit ihrer einnehmenden, erlebnisreichen, unterhaltenden Art von Klanglichkeit und Passion barocker heißer Eisen.

Anna Prohaska reigns supreme in programme of Cleopatra and Dido-inspired Baroque arias in her late night Prom.

The King's Consort realizan un viaje por el siglo XVII inglés, con música escrita en torno a las obras de Shakespeare.

Jubilar und Gäste bekamen mit dem so verlässlichen wie enthusiastischen Concerto Copenhagen ein tolles Geschenk präsentiert.

The Dunedins venture south to show London how to play and sing Purcell.

Themed around legendary African queens Dido and Cleopatra, Prohaska’s recital with the virtuosi of Il Giardino Armonico could serve as a template for the ideal Baroque programme.

Arcangelo and three excellent singers performed 17th-century music inspired by Shakespeare in a vivid and amusing performance. Lipstick and pashmina anyone?

The Belgium-based vocal ensemble presented a programme of vocal and choral delights from 17th century England with mixed results. 

Party like it's the 1690s! The CBSO Baroque Ensemble entertains in a programme of joyous dance music. 

On entering the Sam Wanamaker Playhouse at the Globe Theatre, you feel like you are stepping back in time with its painted ceiling, cushioned benches (a modern luxury) and a candlelit bare stage.

After a hugely successful concert at last year’s Clifton International Festival of Music, Ars Eloquentiae took us on a journey back in time to the Baroque stage for “A Tale of Two Cities: London and Paris, Stage and Street” at the Clifton Cathedral.

First performed in 1653 with music by Christopher Gibbons, and then revived in 1659 with additional music by Matthew Locke, the masque Cupid and Death makes for curious viewing today. In the first production by the new Pearl and Dagger Company of Sydney, the positives outweighed some amateurish aspects.

Fantasias for viol trio performed by members of Phantasm illustrate the inventiveness of England's best composers from the sixteenth and seventeenth centuries.

Until the last decade or so, becoming involved in the historically-informed performance practice (HIPP) movement – which involves performing on instruments of a composer’s historical period – was not so “hip.