| Date and venue | Title |
|---|---|
| 19-Apr-2013 Brooklyn Academy of Music: Howard Gilman Opera House | William Christie's Jardin des Voix in full bloom at BAM |
 Spring has sprung and the arts flourish at the Brooklyn Academy of Music. Earlier this week, William Christie and his superb ensemble Les Arts Florissants revived Charpentier’s David et Jonathas, first produced at the 2012 Festival d’Aix-en-Provence (review here). Friday, Christie displayed a fresh bouquet of voices cultivated with care in his Jardin des Voix – one of most prestigious academies for young singers today.Read full review... | |
| 17-Apr-2013 Brooklyn Academy of Music: Howard Gilman Opera House | Les Arts Florissants bring a stunning David et Jonathas to BAM |
 New York is again lucky to host William Christie and Les Arts Florissants at the Brooklyn Academy of Music. Their visits are always special, and it’s not just because the unique nature of their repertory – Baroque opera, usually French, which is neglected by most of New York’s major companies – nor the virtuosic ease with which they embody this otherwise-foreign idiom. Their productions have a passionate unity of purpose and a loving, handcrafted quality that somehow seems antithetical to many of our more slick and snarky local efforts.Read full review... | |
| 13-Dec-2012 Barbican Centre: Hall | Handel's Belshazzar at the Barbican with Les Arts Florissants |
 Handel’s Belshazzar was the oratorio of choice for renowned music group Les Arts Florissants at the Barbican last week. The group was famously set up in France in 1979 by the American-born William Christie, eventually becoming an international household name for its critically acclaimed performances and recordings of Baroque operas on period instruments. Having previously only heard Les Arts Florissants in recorded form, they had much to live up to for me as a live act.
Read full review... | |
| 30-Jul-2012 Haus für Mozart | Il rè pastore at the Salzburg Festival |
 Il rè pastore was the last operatic work that Mozart completed before Idomeneo, and though there is a clear shift in style and level of achievement in the six years that separate them, it is very interesting to compare the 19-year-old composer to the later operatic master that we are more familiar with. Written as a commission for a visit to Salzburg by the Archduke Maximilian Franz, Mozart chose a libretto by the then rather old-fashioned Metastasio on a pastoral theme very popular at the time.Read full review... | |
