| Date and venue | Title |
|---|---|
| 25-May-2013 La Maison Symphonique de Montréal | The highlight of Montréal's concert season: Handel's Theodora with Les Violons du Roy |
 Saturday night’s performance of Handel’s oratorio Theodora at La Maison Symphonique in Montréal was magnificent, probably the best concert I’ve seen this season. Les Violons du Roy, La Chapelle de Québec, as well as a handful of soloists from Québec and England, all under the masterful direction of Bernard Labadie, brought this somewhat obscure work vividly to life. There was literally never a dull moment throughout the three long acts. The audience, captivated throughout, gave a heartfelt standing ovation at the end.
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| 27-Mar-2013 Théâtre des Champs-Élysées | Bach's St John Passion receives a passionate reception in Paris |
 Bach’s Passion according to St John the Evangelist is not an easy work. Whilst saying I am a “fan” of Bach is one of the greatest understatements possible, this Passion is nonetheless an intense work for any concert-goer (seasoned or amateur) including myself. Over two hours in length, it is a test on both the audience and, quite obviously, the performers.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.
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| 30-Nov-2012 Wigmore Hall | Britten's Five Canticles at the Wigmore Hall |
 Celebrating Britten’s centenary, tonight’s performance of his five canticles seemed particularly fitting. Written throughout his composing career, they are a testament to the composer’s affinity for poetry and skill at writing with particular performers in mind, and they provide an intimate commentary on Britten’s large-scale works.
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