The World of Emma
	Kirkby
	Handel. Tornami a vagheggiar
	
	Purcell. Thanks to these lonesome
	vales 
	Dowland. I saw my Ladye weepe
	
	Handel. But who may abide the day
	of his coming? If God be for us
	
	Lampe. Pretty warblers
	
	Gibbons. The silver swan
	
	Vivaldi. Nulla in mundo paz sincera
	
	Morley. With my love
	
	Pergolesi.Salve regina
	
	Arne. By the rushy-fringed bank
	
	Haydn. On mighty pens
	
	Mozart. Ch'io mi scordi di te? K505
	
	 Emma Kirkby,
	Anthony Rooley
 Emma Kirkby,
	Anthony Rooley 
	Academy of Ancient Music Christopher
	Hogwood
	 Decca 467 781-2
	[66.00]
 Decca 467 781-2
	[66.00]
	Crotchet  
	AmazonUK
	  AmazonUS
	
	
	 
	
	
	Despite my resistance to compilations which provide minimal information about
	the music, this one is irresistible. The well chosen sequence comprises excerpts
	from Decca releases from 1975 to 1993 and Emma Kirkby's art is at
	its finest (she continues now in excellent voice and it is always a joy to
	hear her in live concerts). There are songs with lute (Anthony Rooley,
	her long-time collaborator) and madrigals with The Consort of Music,
	of which she has been a constant member, always recognisable on the top line.
	With The Academy of Ancient Music/Christopher Hogwood she sings arias
	from Purcell to Mozart (K505 with fortepiano obbligato, Steven Lubin)
	and several from oratorios.
	
	Described as the one voice with the sound of 'early music', she avoided
	succumbing to the traditional training for sopranos, eschewed vibrato, and
	her pure white sensation created a sensation when she first appeared, rather
	as had Alfred Deller, mapping the way for the future of the counter-tenor,
	which we now take for granted. The 'modern limit' of her repertoire seems
	to be late eighteenth century, but her recordings encompass an extraordinary
	range of rediscovered rarities; here, the least known name is John Frederick
	Lampe, whose Pretty warblers is exactly up her street.
	
	Emma Kirkby's diction is as clear as you have any right to expect from a
	soprano and the titles give a sufficient clue to the words. One can catch
	most of the words, and many phrases, but poems as a whole remain elusive.
	Hopefully the pleasure this release will assuredly give may lead to exploration
	of her other, fully documented CDs.
	
	Peter Grahame Woolf