On this showing, Jaroussky might more accurately be described as a countermezzo, since his fine high Fs (top line of the treble stave) are delivered with no sense of strain. Most of the time, he fits the historical bill in sounding more like a boy than a mezzo...Eric Picard plays the Elegie stylishly, supported by some lovely woodwind solos.

Järvi's live recording packs a punch, the X-factor within its beautifully warm, full sound being a core strength that colours both timbre and interpretation and underpins even the light-textured, soprano-led In Paradisum. The vocal tones of both soloists slot into this sound world perfectly, with the casting of countertenor Philippe Jaroussky in the soprano role feeling surprisingly natural from the outset.

front-rank Faure. Emotional and cerebral intelligence are harnessed by Paavo Jarvi, a musician clearly dedicated to Faure's cause. Even the composer's familiar Pavane, done here with optional chorus and stripped of false sentiment, sounds fresh and new in its classical elegance.

Järvi proves a surprisingly effective interpreter of the Requiem. His French orchestra and chorus lend the ‘Sanctus’ and ‘In Paradisum’ an appropriate air of mystic transcendence, and Matthias Goerne dignifies the ‘Libera me’. A countertenor may not be everyone’s choice for the ‘Pie Jesu’, but you can’t fault Philippe Jaroussky for purity.

the real shock is just how well suited Jaroussky's countertenor turns out to be for the Pie Jesu. There is astonishing purity even in the very highest register and a level of restrained drama that transforms this into something of quite extraordinary impact...The real interest in this new disc is a rare outing for Faure's very first choral piece, Super flumina Babylonis...a remarkably serious and quite operatic utterance from an 18-year-old student

[The] shorter pieces come off rather better than the Requiem, in which Järvi does not always sound very interested. This work does contain some very good things, however, particularly from the soloists, and certainly never falls below an acceptable level...Järvi injects a welcome touch of drama into the mid-section.

However admirable Paavo Järvi's performance of Fauré's Requiem may be, it's the motet Super Flumina Babylonis that provides the main focus on this disc... The choral singing is magnificent throughout...It's a nicely balanced recording, allowing us to appreciate the immense subtlety of Fauré's orchestration. The performance of the Cantique de Jean Racine is one of the most beautiful I know.

Jaroussky, breathtakingly angelic in what Saint-Saëns considered the only "Pie Jesu" worth performing. But it's Järvi's uncanny knack to somehow derive spiritual uplift from the gloomiest of subjects that most impresses here, a talent tailored to fit such needs.

The surprise in Paavo Järvi’s live recording of the full orchestral version is countertenor Philippe Jaroussky’s solo in the Pie Jesu, a gamble which comes off beautifully; Jaroussky’s otherworldly vocal perfect for this work...Järvi’s large choir make a pleasingly rich sound and the overall effect is more sincere and less cloying than it can be.