[Karthäuser] excels in the lighter, earlier songs in which Debussy is developing his own style…Dégout has the ideal weight, colour and poise to explore the later, broader canvases of setting of Mallarmé, François Villon, Charles d’Orléans and Tristan l’Hermite.

Karthäuser’s dewy soprano is light and fresh and she floats lines in ‘Le tombeau des naïades’ with ease. ‘Beau soir’ is almost sung on a half-breath, Degout is a signer of pure class. He has recorded six of these songs before…since when his high baritone has darkened…Two blissful hours from four winning advocates for Debussy.