Haïm's terrific dramatic pace enables normally rather static moments to sparkle with purpose and intensity.

Instead of attempting an intellectual reconstruction of L'Orfeo, Emmanuelle Haïm presents a full-blooded reinvention of the opera that's firmly modernistic. The cast is primarily composed of world-class opera and recital singers: the overall result is even, cohesive and without vocal blemishes. Some sopranos represent the legacy of 'authenticity' better than others. Natalie Dessay's forthright declamation as La Musica in the exquisite prologue is emotive, but can't eclipse Gardiner's astute Lynne Dawson. In contrast, Carolyn Sampson's fleeting contribution as a Nymph is gorgeously refined and elegantly poised, suggesting that she might make a fine La Musica if given the chance. Véronique Gens is a creamy Prosperina whose tangible pity for Orfeo makes her a very human goddess. Alice Coote's Messenger provides the most compelling moment with a haunted voice full of eloquent pain. The title-role suits Ian Bostridge, and his thoughtfully considered singing effortlessly ranges between smouldering gestures in 'Vi ricorda ò bosch' ombrosi' and shivering disbelief when the messenger tells him Euridice is dead.
European Voices incline towards a full-blooded operatic sound rather than a cool choral blend. Le Concert d'Astrée serve as a linchpin that propels the drama forward with obsessive momentum.
The pumping sackbuts during the introductory toccata indicate that the ensuing drama isn't going to be dull, and Les Sacqueboutiers also provide a splendid regal entrance to a vision of Dante's Inferno in Act 3. The strings produce ritornellos of magnificent sensitivity and resonating eroticism. Haïm does, though, excessively pepper Monteverdi's score with prominent and improvisational percussion.
Haïm's performance has a much stronger Italianate sense than the comparatively English school that's hitherto dominated the discography, and her compelling perspective possesses a lively spirit that makes the listening hours fly by.
Purists will be divided over the liberties she takes, but her performance is a stimulating alternative to the fine pedigree of recordings that has preceded it.