The 2nd book of these Symphoniae, written in the dark years of the devastating 30 Years War and published in 1647, stands among his central body of works and holds many affecting and beautiful moments. The British recording being reviewed here presents the 2nd book in its order of publication, which is not structured as a coherent work end-to-end work but rather is organized by range and number of soloists, indicating that each of the symphoniae is a single piece standing on its own. Book II starts with the symphoniae for solo voice, works its way down the vocal range from soprano to bass, then proceeds on to the duets and trios and concluding with a few more ambitious works for a full set of vocal soloists.

Le Nouvel Opéra and Les Boréades de Montréal have assembled an exceptional group of artists for the first-ever recording of Nicandro e Fileno, a pastoral opera by Paolo Lorenzani (1640-1713) first performed in 1681 before Louis XIV at the palace of Fontainebleau.
The manuscript is conserved in the Bibliothèque nationale in Paris. Canadian musicologist Albert La France prepared the critical edition of Nicandro e Fileno for the Centre de Musique Baroque de Versailles. Thanks to the initiative of Suzie LeBlanc and Francis Colpron, this opera was restored to life for this recording and for the 2017 performance in Montreal, with stage direction by Marie-Nathalie Lacoursière.

As we have come to expect with Tragicomedia, the programme is carefully considered, well balanced and colourfully presented. Unlike the group's last and somewhat disappointing release of Anna Magdalena Bach's Notebook (Teldec, 12/94), these Welcome Songs and Odes have a dramatic bite and emotional range (despite the poor-quality verse) which directors Stephen Stubbs and Erin Headley can nurture over comparatively longer periods; this is one of the reasons why they succeeded in their Monteverdi disc of Il Combattimento (10/93) where others are often found wanting. The music chosen here is all out of Purcell's top drawer, with Tragicomedia combining works with ravishing string ritornellos and extrovert paeans to the King, such as the gloriously crystalline and breezy Welcome, viceregent, with the more intimate elegies on the death of Queen Mary which have the capacity to melt marble.

Le Centre de Musique Baroque de Versailles, qui publie régulièrement des joyaux inédits de la musique française, nous a permis cette dévouverte des oeuvres religieuses de Pierre Bouteiller. Le présent enregistrement propose en plus de la Missa pro defunctis à 5 voix et basse continue, des Motets pour voix, deux basses de viole et basse continue qui confirment que les violes étaient bel et bien mariées aux voix de la façon la plus heureuse dans le répertoire français.

This compilation of Handel performances by soprano Suzie LeBlanc, drawn from three previously released recordings made between 2001 and 2003, serves as an excellent introduction to this fine singer and stands on its own as a thoughtfully programmed recital. The opening "Lascia ch'io pianga" from Rinaldo shows her clear voice and (thankfully) unaffected style, the emotion captured just right, the phrasing eloquent, the control giving no hint of effort. And this holds true throughout every selection, whether in the six-movement, recently discovered Gloria in excelsis Deo (her impassioned "Qui tollis" is a highlight) or in the more virtuosic rapid runs, lightning-quick turns, and subtle ornaments of "Da Tempeste" from Giulio Cesare.

From his great oratorios we know Handel as a master of epic grandeur and dramatic majesty. The pastoral masque Acis and Galatea (1718) shows another side to the composer, one of transparent lightness, refined sensuality, and tenderness. Yet whatever the means he employs to his ends, we are ever awed and elated by the unshakable generosity of this great European musician. A brilliant cast of singers and the award-winning Boréades ensemble team up in this fresh look at an early Handel masterwork.