Despite its brevity, Purcell's Dido and Aeneas holds many charms for audience and performers alike, so it's no wonder that there has recently been something of a boomlet in recordings and reissues (certainly, it doesn't hurt that this mini-sized opera fits easily on one disc). This particular traversal is helmed by the rising young French conductor and harpsichordist Emmanuelle Haïm, whose snap and vigor in this repertoire is immensely appealing. Another real pleasure is getting to know the stylish Concert d'Astrée, whose poise and elegance is a welcome addition to the roster of Baroque ensembles.

Handel wrote the secular oratorio Il trionfo del Tempo e del Disinganno (The triumph of Time and of Enlightenment) to the text of one of his patrons, Cardinal Benedetto Pamphili, in Rome in 1707. The libretto, which doesn't stand up to close logical scrutiny, centers on Beauty, who must choose between self-indulgent Pleasure and the austerity of allegiance to Time and Enlightenment. Needless to say, any patron entering the theater for the performance, having noted the title on the playbill, would have no doubt about the outcome of the struggle, so dramatic suspense cannot have been one of the inducements for an eighteenth century audience. The rewards, however, are real, most notably Handel's remarkably fertile inventiveness and musical ingenuity, which justified sitting through a two-and-a-half-hour performance that was guaranteed to be a dramatic non-starter. Handel keeps recitatives to a minimum, and the oratorio is rich in musical substance and variety.

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).

It's tempting to think these duets, which Handel composed at various points in his career, are just chips from the master's block. But they constitute a delightful hour's worth of music, and when sung with the vocal brilliance and stylishness displayed here by ten top singers in various pairings, they add up to one of those rare discs it's hard to stop returning to. Handel must have thought a lot of them too–since he reused some of this music for oratorios like Messiah–and turned to the chamber duet form in his last years as well. There isn't a weak link among the soloists, though the contributions of Natalie Dessay, Veronique Gens, and Sara Mingardo are especially noteworthy. Whether asked to sing plaintive laments or flashy coloratura displays, these well-matched voices thrill.

The major debut on Decca DVD of Danielle de Niese. Returning to the opera house where she sang her sensational Cleopatra in Handel's Giulio Cesare, Danielle performs the title role in Monteverdi's great opera of lust and power, in Robert Carsen's new, modern-dress staging. De Niese is perfectly cast as the beautiful and seductive Poppea who ruthlessly grabs power as Nero's lover but, in this production, is doomed from the moment of her coronation. De Niese's performance is vocally and dramatically powerful, perfectly complemented by Alice Coote as Nero. The two are supported by an outstanding cast, together with period-performance stars Emmanuelle Haïm conducting the Orchestra of the Age of Enlightenment. Carsen creates an intelligent and visually-strong production, focusing on the personal side of the story. At times the action is violent and shocking, but this is juxtaposed with episodes of lightness and humour.

Such stalwarts as Christopher Hogwood, Marc Minkowski, John Eliot Gardiner, and Nicholas McGegan tackled Handel's early oratorio La Resurrezione before Emmanuelle Haïm, but hers may well be the most passionate performance of the once-rare work yet recorded. Part of the reason is Haïm's own fiery nature. Nothing here is merely filler: every aria, recitative, and interlude is played for maximum musical and emotional value. Part of her success is due to Haïm's choice of soloists. While some listeners might wish soprano Camilla Tilling brought more strength to her part, she and the other four soloists bring plenty of intensity to their singing.

Mozart was just 14 years old when he composed Mitridate, re di Ponto, a noble opera seria based on a play by Racine. A great success at its premiere, it is only rarely staged today, so this 2016 performance, led by Emmanuelle Haïm at Paris’s Théâtre des Champs Elysées, was by definition a special occasion. The dazzlingly virtuosic cast is led by tenor Michael Spyres and sopranos Patricia Petibon and Sabine Devieilhe, while the intense modern staging is by Clément Hervieu-Léger, a resident director at France’s most illustrious theatre company, the Comédie Française.

What a wonderful contrast! Handel’s Dixit Dominus and Bach’s Magnificat represent the two oft-compared composers at Dixit . He had already written two Italian operas, and his career path clearly pointed in that direction. The Dixit is as extravagant as Bach’s Magnificat is controlled. The two pieces are such a good fit that one wonders why they haven’t turned up together more frequently, if, in fact, they have at all.

Festival d'Aix-en-Provence has firmly established itself as France’s preeminent summer festival and is a key fixture on the international festival calendar. It is particularly in the field of opera that the Festival d'Aix-en-Provence continues to break new ground and this release from the 2016 festival demonstrates that. In this new staging – a coproduction with the Opéra de Lille, Théâtre de Caen – Emmanuelle Haïm directs Le Concert d’Astrée with a star-studded cast including Franco Fagioli, Sara Mingardo, Michael Spyres, and exclusive Erato artist Sabine Devieilhe.

Emmanuelle Haïm has established herself as one of the world’s leading performers, conductors and interpreters of Baroque repertoire, not only with Le Concert d’Astrée, the ensemble she founded in 2000, but with several of the world’s greatest orchestras. Known for her fresh and expressive approach to Baroque music, she has garnered critical acclaim and several international awards with her own ensemble, including Victoires de la Musique Classique, ECHOs, Gramophone Awards, and Grammy nominations.

This is an excellent recording of Handel's "other" Acis – an Italian cantata he composed during a visit to Naples ten years before he wrote the more famous English masque Acis and Galatea. Emmanuelle Haïm and Le Concert d'Astrée play with pathos, imagination, and impeccable style, never forgetting that, in a work for such intimate forces, maintaining musical momentum and variety is the key to success. Sandrine Piau (Aci), Sara Mingardo (Galatea), and Laurent Naouri (Polifemo) are perfectly cast; Piau's crystalline soprano and Mingardo's warm, full-bodied mezzo blend wonderfully in their duets, sounding as if they have sung together for years, and both of them deliver spectacular solo moments.

Countertenor Philippe Jaroussky continues to amaze with the facility of his technique in the most demanding coloratura repertoire, the intelligence and deep feeling of his musicianship, and, most especially, with the full, vibrant quality of his distinctive voice. It has lost none of its freshness since he burst onto the international scene in the last years of the 20th century, and has become a richer, stronger instrument without giving up any of its remarkable agility. A champion of neglected Baroque composers, he turns his attention to Antonio Caldara (ca. 1671-1736), a near-contemporary of Vivaldi's.

Following the trend of singers releasing recitals based on the repertoire of great performers of previous centuries – Cecilia Bartoli's tribute to Maria Malibran and Juan Diego Flórez's to Giovanni Battista Rubini, for instance – countertenor Philippe Jaroussky has devoted a CD to the repertoire of eighteenth century castrato Giovanni Carestini, who was a rival of Farinelli's. According to contemporary accounts, Farinelli was the more virtuosic of the two, with a hair-raisingly dazzling coloratura, and Carestini was noted for the beauty and purity of his tone, and his profound musical and dramatic characterizations. The demands of the arias collected here make it clear that Carestini must also have had a fully developed technique, because they require remarkable agility and an awe-inspiring range that essentially encompasses both soprano and contralto registers, as well as great interpretive sensitivity.

Two decades ago Handel's early Italian-language cantatas were little known, but sopranos have discovered that they provide a top-level vocal workout while offering more than a hint of the mature Handel's genius. This disc by French singer Natalie Dessay, one of the hottest sopranos on the scene, is going to be hard to beat. Dessay shares the credit with the period-instrument ensemble Le Concert d'Astrée and its conductor Emmanuelle Haïm, who has been turning out one groundbreaking Baroque disc after another.