Christophers leads a trim, affectionate performance of Purcell’s last (unfinished) semi-opera. The musical forces are small and flexible, and though some previous recordings bring more star power to bear among the soloists, Purcell’s bountiful score is never short-changed.

A fine scene for the magician Ismeron...is suavely done by Eamonn Dougan. The band play adroitly in a few curtain tunes and the Overture...High tenor Matthew Long dispatches Fame's 'Begone, curst fiends of Hell' impressively...this is an engaging advocacy of Purcell's final and seemingly incomplete opera.

Jeremy Budd brings his attractive tenor to bear on the role of the Indian Boy, with Kirsty Hopkins’s pretty soprano at his side as the Indian Girl. Matthew Long sounds appropriately more vigorous as Fame, with Eamonn Dougan eloquent in ‘You twice ten hundred deities’ and appropriately sinister in ‘By the croaking of the toad’, both sung by the Peruvian prophet and conjuror Ismeron. Julie Cooper is stylish as the mysterious God of Dreams, Stuart Young sonorous as the Mexican High Priest.

Henry’s music has dwindled to one song, but his contributions are of consistently finer quality...than his relative’s. Christophers has less famous names than Hogwood did (Kirkby, Ainsley, Finley), but Matthew Long, Eamonn Dougan and Julie Cooper’s solos are all outstanding, and their voices blend superbly in the choruses.

It’s a delicious 72 minutes of Restoration wit and lyrical charm, performed gracefully by Harry Christophers’ the Sixteen. There are stirring trumpet tunes, one magnificent bass scene (sonorously delivered by Eamonn Dougan), and fine solos from rising young singers such as Kirsty Hopkins and Matthew Long.