Alla Francesca / Brigitte Lesne / Gérard Lesne D'AMOURS LOIAL SERVANT

This recital continues a series begun by Alla Francesca on Opus 111, of which it is the third instalment (and the group's first recording for this label). I had preferred the first, 'Beaulte parfaite' (7/98), to the sequel, 'Armes, amours' (A/98). Here again is a rather mixed bag, ranging from Machaut to Ciconia and Cordier. The ensemble's three musicians are joined by the countertenor Gerard Lesne, who appears in much earlier repertory than we are used to hearing him in. His presence allows the group to explore music with two upper parts of similar range, a shared characteristic of many of the pieces sung here. Yet despite some fine singing, the vocal interventions seem strangely restrained, which is all the odder given that these are French musicians, from whom one might expect a more characterful approach to text (in this regard I would except Brigitte Lesne, whose ability to put the words across effectively is admirable).
The ensemble's three instrumentalists show remarkable versatility (not to mention virtuosity) in deploying all manner of instruments: winds, bowed and plucked strings, percussion. The results are mixed (I must admit that the bagpipe solo had me reaching for the volume control), but can hardly be accused of lacking definition. As a whole, however, the recital seems a shade unfocused, partly (again) because the individual performances are so variable; set against the urgent delivery of Amour m'a le cuer, for instance, is the disappointment of Senleches's La harpe de melodie for which Alla Francesca has used the deficient reading of the Codex Chantilly (which the Ferrara Ensemble also used in their otherwise admirable 'En doulz castel de Pavie', Harmonia Mundi, 8/98). It is a great pity that the only satisfactory recording of this wonderful piece (on the Medieval Ensemble of London's 'Ce diabolic chant' on Decca) remains unavailable. On a more positive note, one must applaud Alla Francesca's determination to assemble a sizeable corpus of late-medieval song. This is a repertoire where the discography lags far behind both scholarly endeavour and concert performance. (Fabrice Fitch / Gramophone)

Emmanuelle Haïm / Le Concert d'Astrée PURCELL Dido and Aeneas

Despite its brevity, Purcell's Dido and Aeneas holds many charms for audience and performers alike, so it's no wonder that there has recently been something of a boomlet in recordings and reissues (certainly, it doesn't hurt that this mini-sized opera fits easily on one disc). This particular traversal is helmed by the rising young French conductor and harpsichordist Emmanuelle Haïm, whose snap and vigor in this repertoire is immensely appealing. Another real pleasure is getting to know the stylish Concert d'Astrée, whose poise and elegance is a welcome addition to the roster of Baroque ensembles.
Haïm keeps the work zipping along at a terrific clip but still gives her soloists plenty of room to luxuriate--and what soloists she has! As Dido, Susan Graham blends her signature warmth with a great deal of sweet wistfulness, particularly in the famous aria "Dido's Lament", in which her melancholy is matched by a chromatically descending bass line. As sung by Ian Bostridge, Aeneas is a soulful warrior, and Felicity Palmer's Sorceress offers plenty of venom without resorting to the nasal vamping that many others singing this role have used. David Daniels' brief turn as the Spirit deserves a special salute for a wonderfully funny caricature (imagine a minor, wheedling office clerk from the bureaucratic pantheon). The sound is as full and rich as the mythic portrayals, making this an easy recommendation. (Anastasia Tsioulcas, ClassicsToday.com)