Lenyalo Le Thata

This "fête Baroque" occurred in December 2011 at the Théâtre des Champs Elysées in Paris, marking the tenth anniversary of the ensemble Le Concert d'Astrée under founder and conductor Emmanuelle Haïm. The concert was a benefit for a French cancer research facility, and it attracted a galaxy of guest stars. Le Concert d'Astrée is one of the very best Baroque vocal ensembles, and this release never descends to a low common denominator. Haïm's trademark expressive phrasing is everywhere in evidence, but the biggest attraction is the selection of singers, with several figures from the mainstream showing up alongside established Baroque specialists.

Among the most adaptive and flexible – some might say eclectic and facile – of composers, Darius Milhaud was well-equipped to provide stage and ballet music that could set any scene and change moods at a moment's notice. His vivid scores, however, are most often heard today in concert, and without scenarios in hand, some imagination is required to understand how effective these works may have been for the stage. Taken at face value, Le carnaval d'Aix seems like an episodic piano concerto, L'apothéose de Molière a mediocre neo-Baroque pastiche, and Le carnaval de Londres a modern music hall rehash of John Gay's The Beggar's Opera.