Performer: Christopher Moulds

Beth Taylor gives the lows and highs of Handel's heroics an almighty, whole-body shakedown in Sinéad O'Neill’s new staging of Handel's Orlando. 

“How Excellent.”  The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.

The evening’s most revelatory performance came from the young countertenor Aryeh Nussbaum Cohen as Medoro. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

A flamboyant production and a wonderful cast of singers seals a big success for this gem of the early Baroque.

Two fine choreographers and the Orchestra La Scintilla heralded two world premiere performances of new ballets at the Zurich opera house.