This charming disc, the epitome of Arcadian elegance, marks counter-tenor Andreas Scholl’s return to the Harmonia Mundi label after a sojourn with Decca. His chosen reper-toire is four Italian cantatas drawn mainly from Handel’s time in Italy at the start of the 18th century. The precociously talented Handel took Italy by storm, creating magnificent works in every genre for the most important Italian musical centres; but Italian connoisseurs delighted particularly in the cantata for solo voice accompanied only by basso continuo. Handel duly obliged with numerous masterpieces for one, two or three solo voices accompanied by a band of instruments. The texts throughout this disc are distinctly pastoral, revolving around Cupid, shepherds and shepherdesses, and the opening cantata, Il duello amoroso, for soprano, alto, two violins and continuo, is the most extrovert work featured. Hélène Guilmette proves a well-chosen foil for Scholl, her voice bright and agile with just a hint of steel at its core, and their shared final aria is a passionate affair - truly a duello amoroso. The following two shorter cantatas, for alto and basso continuo, receive intimate performances from Scholl, demonstrating a soft, light, even roundness of tone throughout his vocal range. This tonal quality is particularly effective in the better-known more virtuosic final cantata Mi palpita il cor (dating from Handel’s early London years), where an obligato flute duets with the voice in the arias. Ottavio Dantone and his Accademia Bizan-tina give a loving account of Handel’s Trio sonata op. 2 no. 1 as well as providing finely-nuanced support in the cantatas. (Their opening Allegro and Menuetto in the first cantata are especially compelling.) Charming, elegant; this disc is surely another winner for Scholl and Harmonia Mundi.

Reviewed by Anne McAlister