Les Souffleurs de Rêves

This collection puts some of the best Purcell on display–and it couldn't have a more musical or vocally accomplished advocate than Canadian soprano Karina Gauvin. Her voice is pretty for sure, but it also has richness and substance, not to mention a most endearing vibrato that adds an earnestness and enlivening tension to everything she sings.

Few twentieth-century creators have been as inventive as Berio in their relationship with popular and ancestral traditions – drawing material as he did from the hits by The Beatles and the soundscapes of urban streets and markets. Here Geoffroy Jourdain paints the portrait of an explorer with a passion for the human voice. Truculent and volcanic in Sequenza III (performed with panache by French mezzo-soprano Lucile Richardot), lyrical and caressing in E si fussi pisci, solemn and spellbinding in Cries of London.

It was only when Carl Philipp Emanuel Bach was appointed Musikdirektor in Hamburg that he started to compose a large amount of religious music. This, of course, was part of his job, but the fact that he had applied for this job is an indication that he didn't see any problem in writing music for the church and for specific occasions. It has taken a long time before the religious repertoire of Emanuel has been taken seriously, and it still doesn't belong to the core of religious music performed by today's choirs and orchestras.

This new CD of Les Boréades de Montréal, features acclaimed Canadian soprano Karina Gauvin in two French Baroque Cantatas: Orphée by Nicolas Clérambault and L'Hyver by Joseph Bodin de Boismortier. The recording is completed by two instrumental pieces: the lively suite from the opera Don Quichotte chez la Duchesse by Boismortier and by Michel Corrette's Concerto comique no 25 Les Sauvages.

These traditional noëls by Claude Balbastre, Michel Corrette, Louis Claude Daquin and Jean-Francois Dandrieu are intimate and elegant, and make a unique contribution to any collection of festive seasonal music. Borrowing tunes from popular songs of the day, these 18th century composers wrote noëls that are simple in nature, combining joy and devotion.

The anglophone listener may be deceived by both parts of the "Concertos pour flûte" title of this program of little-known Alessandro Scarlatti chamber music: the music is not for flute (or at least is not played by one), and there aren't any concertos. The recorder was and is known in French as a flûte a bec, whereas the transverse flute would have been known to Scarlatti's associates simply as a traverso.