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Performer: Aaron Sheehan

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ParisScylla et GlaucusNew production

© RJ Muna
Leclair: Scylla et Glaucus
Nicholas McGegan; Catherine Turocy; The New York Baroque Dance Company; Véronique Gens; Chantal Santon-Jeffery; Aaron Sheehan; Judith van Wanroij

QuebecLe Messie de Handel

Handel: Messiah
Les Violons du Roy; Bernard Labadie; Marie-Sophie Pollak; Tim Mead; Aaron Sheehan; Matthew Brook

QuebecLe Messie de Handel

Handel: Messiah
Les Violons du Roy; Bernard Labadie; Marie-Sophie Pollak; Tim Mead; Aaron Sheehan; Matthew Brook

MontrealLe Messie de Handel

Handel: Messiah
Les Violons du Roy; Bernard Labadie; Marie-Sophie Pollak; Tim Mead; Aaron Sheehan; Matthew Brook

OttawaLa Chapelle Sings Messiah

Handel: Messiah
Canada's National Arts Centre Orchestra; Bernard Labadie; La Chapelle de Québec; Marie-Sophie Pollak; Avery Amereau; Aaron Sheehan
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Opera Atelier's strengths reinforced with Monteverdi

Krešimir Špicer (Ulysses) and Christopher Enns (Telemaco) © Bruce Zinger | Opera Atelier
Opera Atelier's return to the earliest part of the repertoire with Monteverdi's Il ritorno d'Ulisse in patria showcases their strengths in a relatively restrained production anchored by a strong ensemble cast.
***11
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Messiah is Seattle Symphony’s “Glory to God”

Will Liverman © Fletcher Artist Management
“Leave your hoop skirts and swords at home,” the audience was advised, in order to avoid overcrowding when Handel’s Messiah premiered in Dublin in 1742.
****1
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Handel’s La Resurrezione brought blazingly to life

Handel's La Resurrezione © Kathy Wittman
Handel's La Resurrezione, anchored the Boston Early Music Festival’s Thursday programs in a dramatic reading by many of the same forces performing Campra’s La Carnaval de Venise.
****1
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Campra capers: Le Carnaval de Venise

David Evans, Jesse Blumberg and Ryaan Ahmed © Kathy Wittman
With Lully’s death in 1687 and Louis XIV’s increasing immersion in religious piety under the influence of Madame de Maintenon, the court ceased to exercise a strangle hold on opera.
****1
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A truly kingly entertainment in Berkeley

Aaron Sheehan (Apollo) © Frank Wing
Cal Performances and Philharmonia Baroque present a lavish modern-day première of the 1745 version of Rameau's Le Temple de la Gloire
****1
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