On balance the performance are better in the full-textured works. The Magnificat is rousing, the Mass movements solid and sustained, and the spiritual madrigals (especially Voi chi ascolte) sprightly and flexible. These accomplished instrumental players provide an important supporting role, though there are some issues of balance and appropriateness.

Skimming the hairpin bends of Monteverdi’s shifting tempos, Heras-Casado delivers energised, highly rhythmic performances that always look and lean forwards to the next episode. He’s helped by superb engineering, which allows the instrumental forces to glow bright above the voices, the cornetts carving firework-like trails against the rich choral backdrop.

You’ll find everything from grand ensembles to intimate solo confessionals, and this recording is best suited to the latter...individual musicians and singers of the Balthasar Neumann are wonderful, and they shine in their nimble duos and trios – try the piercingly delivered Salve Regina from sopranos Magdalene Harer and Julia Kirchner.