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Sandro Da Silva discusses the influence of Antonio Vivaldi on Johann Sebastian Bach, in particular on Bach's organ transcriptions.

AN ODDITY IN THE OPENING CREDITS for Pier Paolo Pasolini’s Mamma Roma (1962) has gone largely unremarked, probably because it is so cursory. A minute or so into the credit sequence, which is accompanied by the stately largo from Vivaldi’s Concerto for Viola d’Amore and Lute in D Minor, a fly suddenly enters at the lower right-hand side of the frame, meanders a bit before pausing on the name of an actor (Giulio de Stephanis) as if to inspect it, and then skitters off as quickly as it had emerged, its time on-screen totaling three seconds. Was the intrusion of the insect an accident—most...

The opening chorus of Bach’s Christmas Oratorio represents High Baroque splendour at its most electrifying. On Sunday night, it was a spectacular launch for...

Works by Giambattista Tiepolo and his son Domenico offer hints of whatever subterranean Oedipal struggles played out between them.

A winter sports education fundraiser and a variety of music, drama and art shows are offered on the North Olympic Peninsula this weekend.