When Joshua Rifkin began recording Bach vocal works to demonstrate his one-singer-per-part thesis, he started not with the lightly scored early cantatas but rather with the Holy of Holies–the B-Minor Mass. (Don't accuse the man of starting small.) Predictably, outrage ensued: detractors far outnumbered supporters at the time (though this seems to be gradually changing). Musicology or not, Rifkin's approach works. Bach's florid vocal parts are far more negotiable for soloists than for chorus; period instruments never overwhelm the voices. Certainly the standard of baroque- instrument playing, particularly brass, has improved since 1980; but Rifkin's instrumentalists, especially woodwinds, are quite listenable.

Having been relegated to a moral space of exclusion and fear in the Middle Ages, madness subsequently became a major social phenomenon. Brought under control and personified as 'Folly' in the seventeenth and eighteenth centuries, it provided scope for social and moral criticism, leading composers and librettists to give it a prominent place on the operatic stage. Here Stphanie d'Oustrac and the Amarillis ensemble present its multiple facets, from seduction to passionate love, from despair to joy, revealing the underlying truths of humanity in the Baroque era.