This is beautiful but it takes a bit of getting used to. Philippe Jaroussky’s countertenor (he has often been called a male soprano), so well suited to Vivaldi and Monteverdi, at first seems quite wrong in the repertory of belle époque mélodies. The song that gives the disc its title, “Tournoiement, ‘Songe d’Opium’” by Saint-Saëns, with its madly whirling accompaniment – splendidly played by Jérôme Ducros – benefits from the otherworldy sounds Jaroussky can produce.

Some of the better-known songs, for instance Chausson’s “Le temps des lilas” and Hahn’s “Offrande” are so familiar as performed by richvoiced female singers (think Maggie Teyte or Susan Graham) that hearing just the initial phrases one might suppose that the disc were being played at an exaggeratedly high pitch. However, there is no denying the accomplishment of Jaroussky’s vocalism, although the basic tone lacks warmth and variation at several key moments. The selection is certainly adventurous, including rarities such as Dukas’s “Sonnet”, d’Indy’s “Lied maritime”, and two songs by composers who may be unfamiliar to many listeners: “Sur une tombe”, words and music by Guillaume Lekeu (1870-94), the first of his Trois Poèmes of 1892, is a little elegy that begins gently but rises to quite a passionate climax, while Gabriel Dupont’s “Les donneurs de sérénades” is yet another setting of Verlaine’s “Mandoline”. Povla Frijsh recorded it long ago (reissued on Pearl) and there could be few greater contrasts than between her earthy interpretation and Jaroussky’s flirtatious performance. The songs that require extra instruments are well served by the trio of guest players, with Gautier Capuçon especially eloquent in Massenet’s “Elégie”.