This release was originally part of a two-disc album of vocal and instrumental pieces by Elisabeth Jacquet de la Guerre issued in 1986. The music by this gifted contemporary of François Couperin is enjoying a renaissance, and justifiably, for it is inventive and affecting. Sopranos Isabelle Poulenard and Sophie Boulin are fluent in the somewhat rarefied idiom of the 'cantate française' and the result is delicately pleasing. Four of the cantatas on the disc are taken from Jacquet's first collection of Cantates françaises sur des sujets tirés de l'écriture, published in 1708, and dedicated to Louis XIV. The fifth work, Jephté, comes from a second collection issued in 1711 and is distinct from the other cantatas on the disc in being written for two voices rather than one.

Between 1710 and 1726 Clerambault published five anthologies of cantatas amounting to 20 works in all; additionally, there are some half-dozen separate cantatas of which La muse de l'Opera (1716) is one. Orphee comes from Book I (1710), not 1728 as stated on the jewel-case, Pirame et Tisbe from Book II (1713), and La mort d'Hercule from Book III (1716). These cantatas together give us a vivid picture of Clerambault's fertile imagination and his ability to draw on a wide range of affects.

Le cinesi (''The Chinese ladies'') is one of numerous pieces of the kind—generally called azione teatrale or something similar—composed during the eighteenth century for court entertainments.

This is Handel's very first oratorio, to a libretto by Cardinal Benedetto Pamphili and with a title that translates as "The Triumph of Time and Disillusionment" (HWV 46a). The work, comprising two sections, was composed in spring 1707 and premiered that summer in Rome. Its most famous aria is "Lascia la spina", later recast as "Lascia ch'io pianga" in his 1711 opera Rinaldo.

A most famous composer in London at the time of Haendel and a great protagonist of the Ospedali musicali in Venice, Nicola Antonio Porpora (1686-1768) is nevertheless forgotten gloomily of our musical culture. To the rare discographic recordings dedicated to his music, we can add this one, conducted magnificently by Jérôme Correas. (…) Correas interpretation is sensitive, vivid and it stands like a mirror of Porpora's vocal vuirtuosity ; this exaggerated virtuosity is here a natural and vital component of the score, fostering an atmosphere of fervent mysticism (…) that arouse emotions.

A hit in its first run in 1726, in London and elsewhere, Alessandro has had less success in our day. It is a demanding and lengthy work. The story moves quickly and is fairly silly, and meant to be. This Alexander conquers Ossidraca during the overture, but manages to bungle his subsequent amatory assaults, which constitute the rest of the opera. All manages to end well for him in the nick of time, however, as a good lieto fine requires. The performance takes just over three hours, though Bernd Feuchtner, the author of the notes, claims that London audiences in 1726 were in the theater for five.

Pietro Antonio Cesti, byname Marc’ Antonio, (1623-1669) composer who, with Francesco Cavalli, was one of the leading Italian composers of the 17th century. Cesti studied in Rome and then moved to Venice, where his first known opera, Orontea, was produced in 1649. In 1652 he became chapelmaster to Archduke Ferdinand of Austria at Innsbruck, a post he combined for a time with membership in the papal choir. From 1666 to 1669 he was vice chapelmaster to the imperial court in Vienna.

Two highly dramatic short works by Monteverdi, Combattimento di Tancredi e Clorinda and Ballo delle ingrate are performed by distinguished French soloists with Jean-Claude Malgoire directing La Grande Ecurie et La Chambre du Roy.

Scarlatti's cantatas are veritable opera miniatures in wich his writing for the voice, highlights the expressive powers of the various affects of love : love the pleasure-seeker, love the tyrant, love the traitor and love the combatant. Voice and instruments are unite in an inventive spirit of virtuoso rivalry, laying bare the passions of the soul.

Nicola Porpora was a Napolitan composer of Baroque operas and singing teacher, whose the most famous singing student was the castrato Farinelli. Besides some four dozen operas, there are oratorios, solo cantatas with keyboard accompaniment, motets and vocal serenades. Among his larger works, his 1720 opera Orlando, his Venetian Vespers, and the opera Arianna in Nasso have been recorded.

The classy interpretation of Mozart's Così fan tutte concluded Claus Guth's Mozart-Da Ponte opera trilogy at the Salzburg Festival. Hosted in the intimate surroundings of the Haus für Mozart, the comic tale of fi ancée-swapping is fl irtatiously retold by a dynamic cast and the Vienna Philharmonic Orchestra under Adam Fischer. Guth's imaginative production maintains the opera's musical drama and humour in a contemporary setting, where young men test their lovers in an entertaining game of seduction and temptation.

Paris certainly held great attraction for German composers of the late 18th century. One of them was Henri-Joseph Rigel, born as Riegel in Wertheim in Germany. Rigel was already active as a composer of orchestral music while still in Germany, where he studied with Niccolò Jommelli in Stuttgart. It is not exactly known when he went to Paris, but in 1768 he established his own residence in the French capital. In that same year he married, and in 1769 and 1772 his two sons were born.

In this premiere recording, René Jacobs leads a cast of outstanding singers and musicians in a grand production of Georg Philipp Telemann's 'Orpheus.' The manuscripts of this operatic drama were only recently rediscovered and because of some missing material, the version presented here cleverly interpolates other music by Telemann (and his contemporaries) to complete the story.

A beautifully-packaged 50-disc box set, released to celebrate the 50th anniversary of Deutsche Harmonia Mundi, one of the most important and adventurous early music labels. The set contains 50 classic recordings of baroque and ancient music, chosen to represent the breadth of this huge and varied catalogue and each disc is slip-cased with artwork replicating the original CD or LP artwork.

This disc brings together two composers from Naples, albeit from different generations. They are also different in that Scarlatti was an important contributor to the genre of opera, whereas Durante never composed anything for the theatre. They have also something in common: both were considered rather conservative - Scarlatti in particular towards the end of his career - and in the oeuvre of both the traditional counterpoint plays an important role.