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
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
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
Handel/Purcell/Buxtedhude/Blow
Iestyn Davies has established himself as the countertenor of the moment, says Stephen Pritchard
Semele
Barbican, LondonOf all the Handel soprano roles, Semele has Danielle de Niese's name on it and true to form she charmed, cajoled and pouted her way through the role, writes Erica Jeal
Handel: Eight Great Harpsichord Suites; Handel, Purcell, Haydn: Suites and Sonatas
Nicholas Kenyon recommends two contrasting approaches to Handel's harpsichord music
Joshua/Connolly/Bicket
Wigmore Hall, LondonConnolly was implacable in one of Agrippina's murderous soliloquies and dazzling in Ariodante's Dopo Notte, writes Tim Ashley
Il pastor fido/Royal College of Music; Bartók/Beethoven/Janine Jansen/Itamar Golan
The London Handel Festival brought outstanding singing and Janine Jansen was thrilling at the Wigmore, writes Stephen Pritchard
Tamerlano/ Royal Opera; St Matthew Passion/CBSO/Rattle
Could Plácido Domingo have made Handel's Tamerlano fly by? We'll never know, writes Fiona Maddocks
The Mozart Album: De Niese/Orchestra of the Age of Enlightenment/Mackerras
This follow-up to Danielle de Niese's collection of Handel arias underlines her vocal limitations, writes Andrew Clements
Theodora
Sage, GatesheadAlthough a stand-in, Iestyn Davies's counter-tenor perfectly complemented the pristine soprano of Carolyn Sampson in Handel's oratorio, writes Alfred Hickling
Susanna
Barbican, LondonLes Arts Florissants' semi-staging of this rarely performed oratario showed they had a persuasive way with Handel, writes George Hall