This really is a great disk especially to a Baroque opera nut as I am. The playing and singing are right up there. It is a mix of serious and comic with a dash of grand choral music and gracious orchestral pieces. I have gone over it several times to find the nuances of the vocal and orchestral material and am happily satisfied with both aspects. The composers included are the greats of the era; Lully, Rameau, Purcell and the whole second disk devoted to Handel. Some 24 solo artists are listed for a concert billed as "Le Concert d' Astree" (Zeus' daughter who became the constellation Virgo). The orchestra was conducted by Emmanuelle Haim. It was the tenth such concert in a benefit for Cancer Research. The concert was given on December 19, 2011 at the Theatre des Champs Elysees , Paris. A grand time was had by all. In general the singers were very good and with a few exceptions, right on top form. The opening number was from Rameau' "Les Indes Galantes" with the wonderful Natalie Dessay as Zima and Stephane Degout as Adrio. It is highly rhythmic and a crowd pleaser. The second number also by Rameau was from his greatest work in my estimation "Hippolite et Aricie". Anne Sophie von Otter, a wonderful Mezzo sang Phedre's lament "Quelle plainte en ces lieux m'appelle?" It was heartrendingly superb. This is followed by the "nightingale's lament" beautifully done by Jael Azzaretti and two flutes. Among other good numbers were Patricia Petibon's comedic interpretation of Folie in Rameau's "Platee". There was another aria from "Les Indes" sung screechily by Sonya Yoncheva as Zima. Not nice. Lully was represented by an exceptionally well done Marche and quartet from act five of Thesee "Vivez contents dans ces aimables lieux" with Jael Azzaretti, Francoise Masset, Topi Lehtipuu & Stephane Degout. Purcell's King Arthur sounded strange in the aria "What power art thou?" sung by Christopher Purves as Cold Genius. Next up was an old favorite of Russel Oberlin and his son in the famous "Come ye Sons of Art" for Queen Mary's birthday. All went well for the singers Pascal Bertin and Philippe Jaroussky but the conductor then led the orchestra in a crowd pleasing jazzy beat which I didn't appreciate. Then came the Handel and lots of it. Ann Hallenberg did very well with "Lascia ch'io pianga" from Rinaldo. A beautifully sung Dixit Dominus from the 1707 Psalm with Natalie Dessay and Karine Deshayes. Rolando Villazon lacks experience in Baroque technique and does not have the vocal flexability for his Bajazet aria "Ciel e terra armi di sdegno" from Tamerlano. But the cut featuring Anne Sofie von Otter as Cornelia and Phillippe Jaroussky as Sesto from Giulio Cesare in Egitto was arguable the best of the whole recording. Of course it's Handel at his best. Also on the best list was Sandrine Piau's singing of Cleopatra's aria from the same opera "Piangero la sorte mia" and then Natalie Dessay's Cleopatra with "Se Pieta" Such beauty of tone and concentration. The last cut was a massed chorus for Messiah's Hallelujah as they did it in the mid 19th & 20th century. A big bow-wow that Sir Thomas Beecham would have been proud of. Nothing subtle here. Oh well it was a great show and the album will be played and played. Loved it