Davies hovers delicately between passion and languor, enactment and commentary. Hesitation, silence, and nuanced additions figure prominently in a performance that is both engaging and soothing...The recitative is notably captivating, thanks largely to the obbligato players' response to words, and to director and cellist Jonathan Cohen's fine-brush dynamics. Technically immaculate and thoroughly researched

Cohen and his new ensemble Arcangelo favour a larger and more diverse team of continuo players; the restuls are simultaneously luxurious and imaginative, and risk gliding the lily, but the musicianship is exquisite. Cohen's cello-playing is softly lyrical during the beautiful Or che una nube ingrata and Davies's coloratura shines in the lively outburst that concludes 'Oh se fosse il mio core'

[Porpora's] music was much admired during his lifetime, and as Davies's beautifully shaped and coloured singing shows, it has a great deal of elegance and charm, if not much profundity, despite its emotional highs and lows. The performances certainly give it the best possible chance; the players of Arcangelo are alive to every nuance of the recitatives and in the arias take the instrumental obbligatos...with great relish.

Iestyn Davies, today's most exciting British countertenor, sings six of [the cantatas] here with an awesome technique and flawless tone, accompanied by the lithe and graceful chamber ensemble Arcangelo, with the princely Jonathan Cohen directing from the cello. Recommended.

These six Italian cantatas...are perfectly tailored to the mellifluous, beautifully articulated, expressive countertenor voice of Iestyn Davies, accompanied by apt colouring from the instrumental ensemble Arcangelo.