Jean-Baptiste Stuck (1680-1755) was born in Italy to Austrian parents. As well as being a composer, he was a virtuoso cellist, which skill he focused on in the latter half of his career at the expense of composing. Stuck entered the service of Louis XIV’s nephew, Philippe II, Duke of Orléans, later becoming a musician of the Royal Chapel. Thus did another Italian musician make his home in France. The programme is well designed. In the first cantata (L’impatience) the shepherd Tirsis impatiently awaits his lover; he undergoes a thousand jealous torments before she appears and all is well. In the second cantata (Mars, Jaloux), there can never be any such happy ending, since Mars’ lover is Venus herself. The contrasts between these two point to Optimism and Pessimism in the third cantata, Héraclite et Démocrite. Tenor Jean-François Novelli sings the first work, baritone Arnaud Marzorati the second; both come together for the third. A sonata for two violins and continuo by Michele Mascitti separates the first two cantatas, while the last is appropriately prefaced by François Duval’s sonata Héraclite et Démocrite.

Lunaisiens here comprises the two singers, three string players, two recorder players and harpsichordist. Both Novelli and Marzorati have light yet full-bodied voices, flexible enough to negotiate ornate passages, yet sufficiently poised for long-breathed melodies. Their characterisations are animated without resorting to caricature. The instrumental playing is of the utmost refinement, particularly that of violinists Stéphanie Paulet and Bérengère Maillard. Recommended without reservation. WILLIAM YEOMAN