In Dowland’s words: “ingenuous profession of Musicke, which from my childhoode I have ever aymed at,… the better to attain so excellent a science”. Mike Fentross achieves this “divine science of musicke” by wooing his audience by “speaking harmony” on his sweet lute. His art entwines harmony and poetry, albeit often a melancholic art, which is then framed by the proportions of rhythm. His art teaches, stirs and delights the heart and soul of his honorable listeners in profound ways. Mike Fentross first studied with Toyohiko Satoh at the Royal Conservatory in The Hague, then with Nigel North and José Miguel Moreno.

Working in 17th-century Venice soon after the worlds first public opera houses opened there, composer Francesco Cavalli had no tradition to follow. He gave his fertile imagination free rein, tinkering with the brand-new art form to create the lively Venetian style of opera, with its melodious arias, sprightly dance rhythms, free-wheeling mythological or historical plots and generous dollops of comedy. Like most of Cavallis operas, Ilpermestra wasnt performed between the late 17th century and recent years. Ilpermestra was written on the occasion of the birth of King Philip IV of Spains first son in 1658. It was one of the most magnificent operas to have ever been staged. This is the world premiere recording of the opera, made after a live stage performance in Utrecht in 2006.

Laula! is the third album by Mike Fentross and Maarten Ornstein; following our debut duo album, Oblivion Soave and having worked with Rima Khcheich on our second album Ombre de Mon Amant, we are once again collaborating with an extraordinary singer — the Estonian mezzo-soprano Kadri Tegelmann. She is not only a superb interpreter of the Baroque music, as featured here, but she also introduced us to the deep and rich tradition of Baltic vocal music with its many folksongs, hymns and chants.