Handel: Esther – review
The Dunedin Consort creates a stylish version of Handel's first English oratorio, with precision and detail that never get in the way of the music, writes Andrew Clements
Rameau, Lully, Purcell, Handel: Une fête Baroque! – review
Hats off to Emanuelle Haïm, who leads the fun and frolics in this starry baroque fest, writes Nicholas Kenyon
Il Pastor Fido – review
Handel's supposedly problematic opera came good under David Bates, immaculately sung and free of self-indulgence, writes Tim Ashley
Maxim Vengerov/Itamar Golan – review
Maxim Vengerov made an aggressively noble tilt at Bach's D Minor Partita, and Itamar Golan matched him on the Beethoven, writes Tim Ashley
Handel: Il pastor fido – review
La Nuova Musica bring Handel's Il pastor fido to vibrant life, writes Nicholas Kenyon
Handel: Theodora (Naxos) – review
Diana Schmid as Irene attracts most attention in this stylish but otherwise dull version of Handel's penultimate English oratorio, writes Andrew Clements
Handel: Theodora (Glyndebourne) – review
This recording is full of audience noise but as a memento of one of Glyndebourne's finest shows of recent times it's matchless, writes Andrew Clements
Riccardo Primo, re d’Inghilterra; The Spirit of Schubert – review
A Handel rarity proved a rollicking showcase for up-and-coming talent. And had enough Schubert now? asks Fiona Maddocks
Handel: Il Pastor Fido – review
Handel completists will rush to buy this CD, yet rather than being a living performance it is more a musical object, writes Andrew Clements
Giulio Cesare; Wye Valley chamber music festival; Bournemouth Symphony Orchestra/Karabits – review
Sarah Tynan is an agile Cleopatra in Giulio Cesare, writes Fiona Maddocks. And from Egypt to the Wye Valley…
Giulio Cesare – review
Sarah Tynan's Cleopatra delivers some of the finest, most tasteful baroque singing you will hear anywhere, writes Alfred Hickling
Handel: Agrippina – review
René Jacobs's controversial account of Agrippina, based on Handel's first autograph score, is not altogether convincing, writes Tim Ashley
Xerxes – review
Thanks to a cobbling together of directorial inspiration and common-sense design, the show is consistently funny, writes Guy Dammann
Scottish Ensemble/Alison Balsom – review
The main event of this concert was the Scottish premiere of James MacMillan's Seraph, which scooted along but showed too many nuts and bolts, writes Kate Molleson
Terradellas: Sesostri – review
The Barelona-born Domingo Terradellas emerges from the shadows of operatic history with this finely cast rendition of Sesostri, writes Andrew Clements
Prom 55: Rinaldo – review
The semi-staging of the Handel opera, ported over from Glyndebourne, is tacky; thank heavens for the music, says Erica Jeal
Francesco Piemontesi: Recital – review
The young Swiss pianist plays Handel, Brahms, Bach and Liszt with compelling intimacy, writes Fiona Maddocks
Lorraine Hunt Lieberson: A Tribute – review
The late, great mezzo's baroque repertoire is at times unbearably moving, writes Fiona Maddocks
Saul – review
Olivia Fuchs's political spin on Handel's oratorio glossed over its compassion and moral subtlety, writes Tim Ashley
Rinaldo – review
Robert Carsen's school-set adaptation of the Handel opera is entertaining, if glib, writes Tim Ashley
Handel: Suite in B flat; Brahms: Handel Variations; Bach: Partita No 1; Liszt: Vallée d’Obermann – review
Francesco Piemontesi reveals the aristocratic sweep of his Handel and unaffected approach to Liszt and Bach, writes Andrew Clements
Berlioz: Les Nuits d’Été; Handel: Arias from Giulio Cesare; Ottone; Arianne; Radamisto and Agrippina – review
The Handel arias here are glorious, exquisitely polished performances, writes Andrew Clements
Vivaldi: La Stravaganza – review
Handel's publisher's version of Vivaldi's La Stravaganza? It's a tantalising prospect, writes Nicholas Kenyon
Die Meistersinger von Nürnberg/ Don Giovanni; Ariodante – review
Revolution is in the air in David McVicar's post-Napoleonic updating of Wagner's Renaissance epic, writes Fiona Maddocks
Ariodante – review
What made this performance special was that the quality of the vocalism remained connected to the dramatic progress, says George Hall
Rodelinda; BCMG; the Sixteen; Die Fledermaus – review
A young cast excels in an outstanding low-budget production of Rodelinda, writes Fiona Maddocks
Rodelinda – review
Talented Royal College of Music students acquit themselves finely in David Fielding's modern-day setting of Handel's opera, writes George Hall
Handel: Alexander’s Feast; Ludus Baroque – review
Ludus Baroque give us a thrilling performance of Handel's Alexander's Feast, says Stephen Pritchard
Orlando – review
Tim Mead is captivating in Scottish Opera's moving and provocative second world war take on Handel's drama, writes Kate Molleson
Handel: Il trionfo del Tempo e del Disinganno: Early Opera Company/ Christian Curnyn – review
Christian Curnyn's direction and excellent singing mean this early Handel oratorio cannot fail to charm, writes Stephen Pritchard
Handel’s Messiah/The Sixteen; Messiah/500 Voices, Royal Philharmonic Orchestra – review
The small-scale Sixteen and the Albert Hall's 500 voices both made their Messiah sing, writes Fiona Maddocks
Handel: Opera Arias – review
Recital discs devoted to Handel may abound, but few are as comprehensively impressive as this one, writes Andrew Clements
The Sixteen/Christophers – review
Conductor and choir were bristling with as much energy as ever, but this Messiah took time to settle, writes Martin Kettle
Mackerras Memorial Concert – review
A single concert, even one lasting more than three hours, was hardly long enough to celebrate a conductor of such wide-ranging enthusiasms, writes Andrew Clements
Radamisto
This production of Handel's opera set in fantasy-style Asia Minor at the beginning of the first millennium is ENO at its best again, writes Andrew Clements