Salvator Rosa: Bandits, Wilderness and Magic, Dulwich Picture Gallery

Salvator Rosa's self-portrait 'Philosophy' provides 'a glimpse of the self-promotional flair that would spark a personality cult'

Survey of the flamboyant artist who became a cult figure in his own lifetime

Mount Vesuvius blew its top in 1631, spewing molten lava into the sea and filling the air with ash clouds that reached as far as Constantinople. The eruption and accompanying earthquakes killed 3,000 people and caused widespread devastation, all of which made a lasting impression on the 16–year-old Salvator Rosa. As an artist he was to specialise in darkly tempestuous landscapes filled with menace in which small figures are dwarfed by towering cliffs, or beset by bandits, while storm clouds gather over ruined buildings and blasted trees.

The Bach Dynasty, Academy of Ancient Music, Wigmore Hall

Sexing up the Bach family (a little bit): Richard Egarr

Richard Egarr takes a look at the beginnings of the Bach dynasty

No, not some crazy remake of an Eighties soap featuring various members of the Bach family (though I wouldn’t put it past certain channel programmers to come up with the idea), but the Academy of Ancient Music’s (AAM) new series of concerts, which in a nutshell gives them the chance to perform lots of Johann Sebastian, with two bookend concerts covering the befores and the afters, as it were. Bound to get the crowds in and looks nice on the posters.

Niobe, Regina di Tebe, Royal Opera

Agostino Steffani's baroque obscurity is an unmissable operatic revelation

One after the other they came. Stunning aria after stunning aria. Affecting in their harmonies, infectious in their rhythms, arresting in their textures, vivid in their melodies. The Royal Opera had taken a mighty gamble with Agostino Steffani's 300-year-old Niobe, Regina di Tebe, a forgotten opera by a forgotten composer. But they were completely right to do so. For Niobe is a masterpiece. And last night's performance was a triumph.

The Seckerson Tapes: René Jacobs Interview

The multi-talented René Jacobs tackles Mozart's beloved Singspiel 'Die Zauberflöte'

On the trail of the authentic sound of Mozart's Magic Flute

René Jacobs: singer, conductor, scholar, archivist, alchemist, teacher. In recent years he's been "rehabilitating" the Mozart operas for the Harmonia Mundi label, eradicating 19th-century retouchings and stylistic anomalies in order to restore these great works to their vibrant original colours. He and his handpicked performers have now arrived at Mozart's beloved Singspiel Die Zauberflöte and the results are quite revelatory.

The Seckerson Tapes: Christophe Rousset Interview

Baroque's great mischief-maker talks Handel and Couperin

Christophe Rousset - master harpsichordist, conductor and musical archeologist - was once described by the Guardian as "music's greatest mischief-maker". He took it as a compliment. In 1991 he founded the stunningly virtuosic period instrument group Les Talens Lyriques and together they have trawled the archives in search of the forgotten composers and forgotten repertoire of the 17th and 18th centuries - contemporaries of giants like Mozart and Handel who in their day were often more famous and more successful than the greats they inspired. Composers like Martin y Soler, Cimarosa, Jommelli, Traetta, and, of course, his compatriot Lully. In this exclusive audio podcast Rousset talks in his Paris apartment between performances of Handel's Semele.
 
Christophe Rousset - master harpsichordist, conductor and musical archeologist - was once described by the Guardian as "music's greatest mischief-maker". He took it as a compliment. In 1991 he founded the stunningly virtuosic period instrument group Les Talens Lyriques and together they have trawled the archives in search of the forgotten composers and forgotten repertoire of the 17th and 18th centuries - contemporaries of giants like Mozart and Handel who in their day were often more famous and more successful than the greats they inspired. Composers like Martin y Soler, Cimarosa, Jommelli, Traetta, and, of course, his compatriot Lully. In this exclusive audio podcast Rousset talks in his Paris apartment between performances of Handel's Semele.
 

Ottone in Villa, Barbican Hall

Sonia Prina enjoys some rare moments of comedy as Vivaldi's gullible Emperor

Vivaldi's very first opera proves too much of a good thing

A beloved regular of concert hall, radio and recording, the music of Vivaldi has more or less failed to find its way into the contemporary opera house. If we are to believe his own claims, the composer died with over 90 operas to his credit – double the output of even the extraordinarily prolific Handel – making the omission all the more striking. And suspicious. In a field in which "lost" gems are resurrected every day, a measure of cynicism must inevitably accompany so apparently rich a furrow that so many have left untouched. Applying themselves with characteristic energy, Giovanni Antonini and Il Giardino Armonico last night made a compelling case for the defence in their concert performance of Vivaldi’s very first opera – Ottone in villa.

Madrigals and Scarlatti, Lufthansa Baroque Festival

Stunning ensemble performance from I Fagiolini

"Is it music or just a bit weird?" Robert Hollingworth, director of Baroque vocal specialists I Fagiolini, was posing the question of Gesualdo, the infamous oddball composer of the late 16th century - a sort of musical Caravaggio - whose capricious way with just about every aspect of composition (and social norms: he was a murderer) made him a poster boy for the 20th century. It's a question, however, that could quite easily apply to any great pioneer. The best music is always on the cusp of making no sense at all. And therefore it could also apply to much of the Lufthansa Baroque Festival this year, which focuses on the great Italian game-changers of the 16th, 17th and 18th centuries. Yesterday the is-it-music-or-just-a-bit-weird focus was on the Italian madrigalists and Domenico Scarlatti.
 

Platée, Opera du Rhin

A silly frog in love makes for a vividly enjoyable staging of Rameau's witty opera

French geography has a significant hand in the small but exuberantly formed opera and dance that comes out of that civilised country - scaled for the important theatres that lie far beyond Paris and which have a great deal to teach Britain about creating a vivid national landscape.

BBC Symphony Orchestra, Marc Minkowski, Barbican

Pergolesi: 'We know that a member of the audience struck Pergolesi's head with an orange at the premiere of the opera L’Olimpiade.'

Smashing performance of Pergolesi's Stabat Mater in his anniversary year

It always repays to push a world-class orchestra beyond their comfort zone. The BBC Symphony's sound emerged from the refashioning hands of period specialist Marc Minkowski like a naked body from a cold shower: convulsively invigorated and invigorating all those that knocked into it. It was a joy to hear: the best, most intriguing period-playing I've heard for quite a while. For sure the orchestra were more comfortable in Stravinsky's Pulcinella, which went off like a spinning jenny, but the sounds Minkowski managed to elicit from the players in Pergolesi's Stabat Mater chilled the blood. More on all that later.

Julia Fischer, Wigmore Hall

Bach's Valentine's Day spoiler is given a brazenly, brilliantly embittered account

Is there a greater singleton's soundtrack than Bach's restless, tormented Three Partitas for Solo Violin? The works represent the extraordinary pinnacle of the violin repertoire and also the summit of Bach at his most chromatically and psychologically screwy. Snuggling up to these intensely fragile works, as so many Valentines couples were preparing to do last night at Wigmore Hall, is about as fun as curling up to a slice of Von Trier's cinematic clitoridectomy.

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