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This is a problem recording, and even fans of Leonard Bernstein and Marilyn Horne will find it odd. The Maestro's tempi are weirdly slow, Horne sings the role note-by-note rather than phrase-by-phrase, and when she finally does decide to emote, in the final scene, she sounds like she's gone loony. James McCracken was an artist with a huge but unappealing voice who also had brains and power, but he's no delight for the ear.

The encompassing review of Chanson .The names and some form of flow what follow time and evolution of Frenchmanship in chanson.

The myth of Phaedra and Hippolytus, as terrible as it is fascinating, has been retold by many artists over the centuries, including composers. This recording presents the first performance of Jean-Baptiste Lemoyne’s opera in its complete form since the premiere. It reveals a work whose classical surface conceals a style that is vehement, exalted and threatening by turns, a thrilling testimony to the bubbling energy of pre- Romanticism. Served by the total commitment of the Orfeo Orchestra and Purcell Choir under the direction of György Vashegyi, the drama closes in on the inescapable destinies of Phèdre, Hippolyte and Thésée, movingly sung by Judith van Wanroij, Julien Behr and Tassis Christoyannis.