Ardent, brilliant, stately: mezzo-soprano Kate Lindsey probes the inner states of the mythical Cretan princess Ariadne…Cohen adds hugely to these performances, in the Haydn especially. Cohen takes risks with his tempos and dynamics, and by allowing the instrumentalists to sometimes push Lindsey aside; these pay off in many striking moments, for instance when Haydn’s heroine overtakes the band to sprint to her final cadence. Forget victimhood – here, Ariadne wins.

Her strong and assured voice slips easily into this music…and throughout she shows impressive technical control and agility. More strikingly, though, she brings her stage experience to bear in dramatic readings whose intelligent responses to the differing nuances of these three pieces are what really make the project spark...The playing of Arcangelo under Jonathan Cohen is typically high-quality, and often heartbreakingly attendant to the drama.

Lindsey sings [the Haydn] and cantatas by Scarlatti and Handel (based on music for the opera Agrippina) with vehemence in recitative and plush tone in the several arias.

With playing of verve and style by Arcangelo, this rewarding album offers a fine platform for Lindsey, pure-voiced, pliant, expressive – and versatile.

A marvellous vehicle for Lindsey’s dramatic gifts and chameleon skill in changing colours as these emotional rollercoasters sweep on...Whatever the music’s mood, Lindsey gives 100 per cent commitment to every word and note.

Lindsey demonstrates her emotional range to perfection. Jonathan Cohen’s conducting is hugely supportive and the recording shows a real partnership between soloist and players.