Semele is a masterpiece. For what else can one call a drama in which the perfect symbiosis of text and music conjures up such suggestive power? ‘To hold the mind, the ears and the eyes equally spellbound’: this recommendation by La Bruyère (Les Caractères: ‘Les ouvrages de l'esprit’) refers to the ‘machine plays’ so adored by the public in the Baroque period. But even without machinery or indeed without sets or real staging, Handel’s oratorio involves us in the tragic fate of his heroine with supreme skill.

Le Carnaval du Parnasse, Mondonville's heroic ballet, was a dazzling triumph at its premiere in 1749, eclipsing Rameau'sZoroastre, which premiered the same year. Dedicated to the Marquise de Pompadour, muse of the arts and the omnipotent favourite of the King, this whimsical carnival is nothing short of a deliciousmarivaudage: on Mount Parnassus, Apollo and his Muses indulge in feasts of the senses and entertainments of the heart…

1694: the first French opera composed by a woman is premiered at the Academie royale de musique. The fateful destiny of the Greek lovers, driven to blindness and horror by the gods: Cephalus will kill Procris, whom he believes to be unfaithful, and himself… A virtuoso harpsichordist much appreciated by Louis XIV, Elisabeth Jacquet de La Guerre chose to become a composer at a time when such freedom was virtually unheard of for a woman. Her gamble paid off, with six performances and the admiration of posterity: this flamboyant work has finally been brought back to the public by Reinoud van Mechelen.

Given that not one of the Masses by Jacques Arcadelt was included in our boxed set that revealed his immense musical personality to the world, we now remedy this situation with an indispensable addition. Leonardo Garcia Alarcon chose the Missa Noe Noe, which is presented here in the context of the Christmas liturgy. We have also included motets not only by Arcadelt but also by Josquin Desprez, as he was the great model for musicians of his generation. The recording ends resoundingly with Josquin's imposing Benedicta es coelorum regina for six voices, although in an expanded version for twelve voices by Jean Guyot de Chatelet (1512 - 1588): another Walloon composer to be discovered!

The injustices of history are made to be redressed. Here a cast of international singers, under the dynamic direction of Gergely Madaras, devotes itself with conviction to the task of reviving one of the forgotten glories of French Romantic opera. Hulda, completed in 1885, was never staged in César Franck's lifetime.

“Vox humana” or “Vox celestis”? For César Franck (1822-1890) the one is often a metaphor for the other; whether in sacred or secular vein, spirituality is inherent in all his vocal music, even the most modest of his choral works. Certain of these form the focus of attention in this first recording.