With extrovert support from Il Pomo d’Oro and harpsichordist-director Francesco Corti, each song becomes a vocal and dramatic showcase, emphasising abrupt switches between extreme psychologist states…If Baráth’s richly operatic delivery feels sometimes counterintuitive in Strozzi’s more intimate laments, it’s nonetheless a reminder that Cavalli and Cesti in particular found fame in that spectacular new stage genre.

The affecting falling intervals of her dark laments strike to the heart like a knife, and when there is playfulness it can still work to a serious and wholly appropriate end…Baráth’s voice is strong, bright and clear, innately attractive with crisply enunciated words…The expert contributions from Il Pomo d’Oro, including short instrumental interludes by Marini and Merula, are typically tight and pingy.

Not only is the voice intrinsically lovely, but Baráth brings a range of colour and nuance that show a grasp of both textual (so important in this repertoire) and musical syntax…by any standards this is exceptionally compelling singing and the singer is given outstandingly stylish support by members of Il Pomo d’Oro.

Baráth’s rich and expressive palette entrances in this neglected music.

The Hungarian singer sustains the high tessitura with ease, and is engaged and stylish in her performances of this generally neglected music, and uses an unusual ‘shake’ to lead into some phrases, best described as an inverted trill. Francesco Corti’s conducting is balanced, and he works in great partnership with his soloist.