This is the first commercial recording by a talented group of players who have performed in London on occasion during the past year or so. Capriccio Stravagante, a Paris-based ensemble, are directed by the American harpsichordist, Skip Sempe (whose solo Couperin disc I review on page 1386). In this programme Sempe has devised three chamber divertissements consisting of vocal airs and instrumental pieces from Lully's tragedies-lyriques and ballets. His model in so doing were the evening concerts of the nobility in which a five-part string group with harpsichord and a singer took part. Such divertissements did not, of course, fulfil similar functions to those prescribed in the operas themselves, other than that of pure entertainment; nevertheless, the music stands up well out of context and since it will probably be long enough before we are fortunate to hear or see all of these operas in their entirety we must be grateful for a thoughtfully constructed programme such as this.
In the mezzo-soprano, Guillemette Laurens, the ensemble has a singer of considerable talent. Her vocal inflexions, her articulation, her acute ear for textual and musical detail, and an alluring warmth of timbre make for strongly communicative performances. She is especially effective in Lully's many poignant airs such as ''Rochers vous etes sourds'', and the impassioned ''Plainte de Venus sur la mort d'Adonis''; her intonation is more secure than it has sometimes been in the past. The instrumental ensemble—two violins, viola, bass viol, cello and harpsichord—accompany her sympathetically and with just the right degree of presence. Ornamentation by and large is fluent, idiomatic and thus free from those irritating, self-conscious mannerisms which often arise from an imperfect understanding of its function. The weak element in the playing lies in the upper strings which are inclined to sound undernourished and lack the strength to sustain the music with sufficient conviction. I felt this especially in the Passacaille from Armide and in the overtures of Amadis and Psyche.
Apart from the small misgivings I enjoyed the performances. As I say, the singing is impressive and notably affecting in the lower mezzo range. Sempe's own harpsichord continuo realizations are imaginative and very well executed. Fine recorded sound but there is little about the music in an otherwise interesting note.'