Desandre

Handel's Italian cantatas date from early in his career, with few exceptions (none on display here). As a group they are less well-known than his operas, but they're equally virtuosic, and performances of the cantatas whole, as with the three here, are a bit more satisfying than with the operas. The cantatas were composed for parties among powerful Roman cardinals, and they catch the young Handel at the peak of his first success, as Roman audiences hailed him as "il caro Sassone" (the dear Saxon).

"Brace yourself for some exquisitely dizzy spells, at the hand of Jupiter," the booklet notes here confidently proclaim. The simple album title Vivaldi is confident in its own way, and indeed, among all the thousands of Vivaldi releases on the market, this one by the chamber group Jupiter stands out. There are some exceptionally strong soloists, both vocal and instrumental. Sample Peter Whelan in the lovely slow movement of the Bassoon Concerto in G minor, RV 495, and there is mezzo-soprano Lea Desandre, who is not to all tastes but strongly to some.

From Gil Evans to Youn Sun Nah through the ONJ where Lars Danielsson, this eclectic musician, "rhythmist" more than a drummer, played with all the cream of international jazz, without to mention many forays into pop, song, world music and his work as a composer of film music. Inventive percussionist, whom his peers nicknamed "the wizard" offers us in this first solo album music of the highest caliber, open and energetic, which has its place at the forefront of the current European jazz. Fed at school in Brazil, the Caribbean, Africa and the East, Xavier Desandre Navarre is a popular musician from the Scandinavian scene, his compositions are many games and tributes to live music and jazz in particular.

Lutenist Thomas Dunford’s first project for Warner Classics is a complete Handel programme with his Ensemble Jupiter, and his longstanding musical partners Lea Desandre and lestyn Davies. The album stems from Dunford's desire to bring together these two sublime voices and tell a love story through Handel’s most beautiful spiritual music. During the pandemic, Thomas and Lea went through Handel's entire English-language oeuvre to build a narrative Dunford has dubbed ‘a Baroque West Side Story’. The album features arias from Semele, Theodora, Saul, Susanna, Esther, and more.

French love songs from three centuries, interspersed with reflective lute solos, constitute an Idylle for mezzo-soprano Lea Desandre and lutenist Thomas Dunford. As they explain: “The emotions of love are explored in different forms – languor, desire, fascination, happiness.” The word ‘idyll’, evoking a blissful, tranquil experience, derives from Ancient Greece and poetry on a pastoral theme. Desandre and Dunford spin a thematic and musical thread between eras and styles, starting with a sequence of 10 airs de cour from the 17th century. Spanning the era from the 1860s to the 1920s are arias and songs by Offenbach, Debussy, Hahn and Messager, and the album then fast-forwards to the 1960s and two iconic French chanteuses, Barbara and Françoise Hardy. Dunford supplies instrumental interludes in the form of two dances by Robert de Visée, a court musician for both Louis XIV and Louis XV, and Erik Satie’s Gymnopédie No 1 and Gnossienne No 1.

Little wonder that the fast-rising mezzo-soprano Lea Desandre, being of French-Italian descent, chose to present a sumptuous selection of French and Italian arias from the baroque era, ranging from the Neapolitans Francesco Provenzale and Giuseppe de Bottis or Venice’s fabled Vivaldi, to France’s celebrated Grand Siècle luminaries such as Couperin, Destouches and Philidor, and reaching as far as Germany where Saxon composer Georg Caspar Schürmann and Italian-born Carlo Pallavicino developed their careers – at Saxon courts, indeed, but still in the realm of Italian opera that was then all the rage.