This album of Baroque cantatas and chamber duets grew out of a 2007 performance of Stefano Landi's 1631 opera Il Sant'Alessio starring Philippe Jaroussky and Max Emanuel Cencic (among the eight countertenors in the cast) with William Christie conducting Les Arts Florissants. Christie was so impressed with the blend of Jaroussky and Cencic's voices that he brought them together to explore the vast and rarely performed repertoire of late 17th and early 18th century Italian duets for equal voices.

A curious appendix in a couple of the Handel Gesellschaft volumes offers ornamental harpsichord arrangements by William Babell of airs from Handel operas. He in fact published a large number of versions of extracts from popular operas of the time, and these gained wide circulation both in this country and abroad in collections aimed at genteel young ladies (for whom a modest competence at the keyboard was a social asset). The transcriptions from Handel's Rinaldo (1711) are so elaborately smothered in brilliant scales, arpeggios and other embellishments that Hawkins averred that ''few could play the lessons but himself'', and Burney acidly commented that Babell ''acquired great celebrity without the assistance of taste''; but the versions of works by other composers that had been produced in London in 1709 and 1710 are much less ornate and were clearly designed for players of modest attainments.

Rare recordings of two settings of Mary’s passionate Easter lament. For their second L’Oiseau Lyre disc, Il Giardino Armonico, again under their director Giovanni Antonini, are joined by celebrated mezzo-soprano Bernarda Fink, for a project exploring the Passion of Christ as seen through the eyes of the Virgin Mary. The two central works are both vocal settings of the Virgin’s lament.

Charivari Agreable perform a collection of overtures from the Italian Baroque Opera, best described by director Kah-Ming Ng as lucidly crafted for the purpose of turning heads. In a decadent era when the theatregoers antics were often as intriguing as the on-stage performances, these works were composed to thrill, beguile and engage a distracted audience. Charivari Agreable represent a new and very exciting phase of the early music revival, one that enriches the existing repertory and can bring us ever closer to the spirit of the original music.

Esiste una testimonianza di J.J Quantz che parla dell’abilità di Conti come esecutore riferendosi ad un episodio accaduto a Praga nel 1723, quando l’orchestra di corte di Vienna eseguì l’opera Costanza e Fortezza di J.J. Fux con l’aggiunta di un gruppo di musicisti di Dresda, fra i quali lo stesso Quantz e Silvius Leopold Weiss, altro grande virtuoso di liuto e tiorba. A quest’ultimo fu assegnata una parte di ripieno, mentre il ruolo di solista fu affidato a Conti.

A ubiquitous Viennese figure in the early 1700s, Francesco Conti was one of several gifted Italian Baroque composers who settled in foreign lands. If Caldara remains the most durable Italian figure in Vienna, Conti's star — on this evidence — deserves to be dusted down and given a second chance. These four cantatas from eight Cantate am istromenti probably date from the first decade of the century and feature the most delectable plethora of obbligato instruments imaginable.

Facce d’amore, ‘Faces of love’ follows Jakub Józef Orliński’s first solo album, Anima Sacra, which moved Gramophone magazine to announce that “This is a voice with a big future.” It brings a switch from the sacred to the personal and passionate. As the Polish-born, New York-trained countertenor says, the programme – which includes eight world premiere recordings – comprises “operatic arias that tell a story, showing a musical picture of a male lover in the baroque era – not only the positive side, like joyful or reciprocated love, but also anger or even madness.” Spanning some 85 years of the baroque period, the arias on Facce d’amore are by Handel, Cavalli, Alessandro Scarlatti, Bononcini, Conti, Hasse, Orlandini, Predieri and Matteis. Orliński is again partnered by the instrumentalists of Il Pomo d’Oro and their Principal Conductor Maxim Emelyanychev.

Francesco Bartolomeo Conti (1682-1732) left his hometown Florence, in which he had already been a lute player under Kardinals Francesco Maria de Medici in his teens, with 19 he applied to the royal palace of Austria. He also worked in Bernlin, where he met Giovanni Bononcini, and London. 1708 Conti became royal theorbe player in Vienna, from 1713 he was royal composer, writing operas, oratories, cantatas, Musicae sacrae, and a few instrumental pieces. Both as a instrumentalist and composer Conti was able to succeed. Sadly today he still is one of the big unresearched composers.

The Florentine Francesco Bartolomeo Conti (1682-1732) was the finest theorbo player in early 18th-century Europe, and spent almost his entire career at the Habsburg court in Vienna. He composed sacred and secular vocal works special enough to warrant the attention of both Bach and Handel. Conti's oratorio David, a setting of a dramatic libretto by Apostolo Zeno, was first performed at Vienna in March 1724. The cast of singers included the tenor Francesco Borosini, soon afterwards a principal cast member for Handel in Tamerlano and Rodelinda (Conti's writing for Borosini descends to a low G, hence the decision here to cast baritone Furio Zanasi as Saul).

John Beard, Francesco Borosini, Annibale Fabri: these three men helped to revolutionized music in the 18th century. Their voices moved the greatest composers of the time to increasingly write for tenors, a move from the Castrati, which had dominated opera since 1600. Now, three centuries since this trio’s brilliance encouraged a surge of new repertoire for the vocal range, world renowned tenor Ian Bostridge celebrates their legacy with his stunning new release, Three Baroque Tenors.

'Lamento' is a stunning collection of rarely-heard music by the Bach family. Magdelena Kozena brings these long-forgotten treasures to life with her trademark artistry and acclaimed style, accompanied by Musica Antiqua Koln and Reinhard Goebel. "A voice that has already melted some notably stony hearts… one of the class vocal acts of the early 21st century." - The Times (London)

If your ideal vocal recording places the performer next to your seat and your ideal vocal performance has the performer singing directly into your ear, this disc by mezzo-soprano Magdalena Kozená will be just about ideal. No matter what the repertoire – and Kozená performs everything from Bach to Gounod to Shostakovich – and no matter what the context – and Kozená takes on everything from song to opera to oratorio – Kozená is right next to the listener, singing straight into his/her ear. Given her exceedingly warm tone, her extremely rich delivery, and her extraordinarily sibilant pronunciation, Kozená's intimate delivery may be too much for those with heart conditions or those all too easily affected by singers. But for those made of sterner stuff, Kozená's performances here will be the stuff dreams are made of.

An invitation to the intimate setting of an Austrian or Italian Court at the beginning of the XVIIIth century.
Contrasting voices and instruments performing as a solo or together will compete with charm and impetuosity to conjure up the vivacity and the beauty of the Italian music at the time. In the early years of the 18th century the mandolin was an integral part of the Baroque musical scene. As such, it is found in a hundred or so operas.