The main works here are the cantatas by two French contemporaries. Clérambault’s Médée was published in 1710. The singer sets the scene before becoming the sorceress herself: her husband Jason has abandoned her for another woman. In a series of recitatives and airs she ranges from love to fury. D’Oustrac shows herself to be a singer of great expressive power; but she overdoes the sliding up to the note, an effect where more definitely means less.

Bernier’s Médée was published seven years earlier. Like Clérambault’s version, it shows a strong Italian influence with its da capo airs and ornate instrumental writing. Again, d’Oustrac’s intonation is deliberately suspect. “Dépit mortel” from Lully’s Thésée – it’s now Theseus’s turn to become the object of Medea’s jealousy – is too short to make an impression but d’Oustrac finds the right note of regret in “Ah! faut-il me venger” before preparing to poison the ingrate.

What makes this disc really desirable is the glimpse of Gianettini’s Medea in Atene, first performed in Venice in 1675. The second of the three arias has Medea about to open a tomb: over a slow ostinato bass, d’Oustrac is faultless in pathos and intensity. Short instrumental pieces, neatly played by the four-strong Amarillis, are scattered throughout. An enjoyable programme.