Arrestingly, uncompromisingly thrilling...while the coloratura thrills here are predictably spectacular, it’s the other elements – the new-found care and weight of the slower arias, the range of vocal brushstrokes throughout, the dramatic conviction – that hold the attention..animated by the invention and bravado of Fagioli’s ornaments, the impossible clarity and articulation of the coloratura and the singer’s sheer pleasure in his own peak fitness.

In the main Fagioli's ornamentation remains convincing and tasteful, largely confining itself to decoration rather than wild departures from the melodic line ... the sensuality of timbre, particularly in mid-range, often conveys emotion with considerable impact, Arsace's 'Ch'io parta?' (Partenope) being a good example. Il Pomo d'Oro provides its customary excellent support and it is good to find a slightly larger body of strings than it has sometimes fielded... this is a recording of unusual interest, and not just for Fagioli enthusiasts. In many respects the CD typifies much that is praiseworthy in contemporary Baroque singing, and should be heard by anyone interested in that art.

My expectations always run extremely high with this artist, but he excels himself here with singing that simply exudes joy and revels in the capabilities of his remarkable instrument: the vocal virtuosity on display in ‘Crude furie’, ‘Dopo notte’ and ‘Venti, turbini’ (the latter capped with a ringing top D!) will take your breath away. I'm addicted.

Fagioli reveals no chink in his technical armoury. His voice has a more buoyant thrill to it than Cencic’s and he is keen to show it off; but he is also happy to relax into a long- spun line and revel in the languor of the moment, relish a messa di voce and decorate with discretion. A couple of times, an over-excited high note creeps in: the effect is rather like having someone stamp on your foot in an otherwise smooth dance. Nevertheless, this is incredibly polished singing, and there is a palpable sense of the thought and meaning behind the texts and music. The young Zefira Valova’s conducting is supportive and idiomatic.