Nathalie... (2003)

'La verità in cimento' is the first complete recording of Antonio Vivaldi's 1720 opera, made in conjunction with a revival of this work at the Bologna Festival, albeit with a different group of singers. This recording has an excellent frontline cast, including veteran singers such as Anthony Rolfe Johnson, Gemma Bertagnolli, Guillemette Laurens, Nathalie Stutzmann, and Sara Mingardo and Philippe Jaroussky. The band is Ensemble Matheus under the direction of Jean-Christophe Spinosi, and the instrumental complement is especially aggressive in executing extreme dynamics in Vivaldi.

This is, by operatic standards of fidelity, a very faithful musical treatment of Edmond Rostand's classic drama about the swashbuckling poet and swordsman with the big nose. The music is competent but not spectacular; that quality is found in the libretto. The title role is expertly filled by Roberto Alagna, who not only has the best tenor voice in France but also turns out to be an accomplished actor in a demanding role. He is well-supported by a cast that clearly loves the story, its various characters and its often brilliant dialogue.

Gilbert Bécaud was one of the most dynamic performers on the French cabaret scene, known as "Monsieur 100,000 Volts" for his passionate and charismatic performing style, and he played to rapt audiences from his commercial breakthrough in 1955 up to his final public appearances in 2000. Bécaud was also an accomplished songwriter, whose 1961 hit "Et Maintenant" became an international sensation in its English-language version, "What Now, My Love." "Et Maintenant" is one of 20 songs by Bécaud featured on this collection, devoted to recordings of his finest songs. 20 Chansons d'Or also includes the tunes "La Pianiste de Varsovie," "L'important C'est la Rose," "C'est en Septembre," "Mes Mains," and more.

What can anyone add to the praise that has deservedly been heaped on Robert King and the King's Consort's 11 discs of the complete sacred music of Vivaldi? Can one add that every single performance is first class – wonderfully musical, deeply dedicated, and profoundly spiritual? Can one add that every single performer is first class – absolutely in-tune, entirely in-sync, and totally committed? Can one add that every single recording is first class – amazingly clean, astoundingly clear, and astonishingly warm? One can because it's all true and it's all been said before by critics and listeners across the globe.

Volume 17 in the Bach cantata series contains exclusively works from the third yearly cycle of cantatas from Leipzig, which, unlike the previous two Leipzig cycles, extends over a longer period of time, from June 1725 until 1727. The cantatas in this volume can be divided into three chronologically distinct groups: December-January 1725-26 (BWV 57, 32), September-October 1726 (BWV 35, 17, 19, 169 and 56) and January-February 1727 (BWV 58 and 84).