As a programme‚ this recording presents an uncommon ‘take’ on Frescobaldi‚ whose vocal and keyboard works are usually kept apart (the former‚ in fact‚ is far more rarely recorded‚ the complete sets of the Madrigals and Arie musicali by Concerto Italiano notwithstanding). Here‚ the Japanese ensemble Anthonello (named after the 14th­century composer from Caserta) combines the two in a varied recital that encompasses a wide range of Frescobaldi’s music: instrumental canzonas‚ toccatas‚ solo arias‚ even a motet from the rarely recorded anthology published by the composer in 1627. Imaginative programming extends to the order of pieces (two of the arias are preceded by short dances from the toccata publication of 1615) and the variety of instruments employed (such as a harp in the Toccata tertii toni). The instrumental selections are stylishly executed. I especially admired the harpsichord and harp performances from Marie Nishiyama‚ and the cornetto of Anthonello’s director‚ Yoshimichi Hamada‚ which functions more than credibly as a violin substitute (though his intonation on recorder is not so secure – in any case he uses it less). Nearly half the selections involve the soprano Midori Suzuki‚ whose light tone is better suited to this music than to Monteverdi’s‚ it seems to me. Although her pronunciation and delivery of Italian is sometimes imprecise‚ she copes well with the differing moods of the texts. (Così mi disprezzate?‚ one of the most ambitious of the Arie musicali‚ is particularly impressive.) At the very least these performances help to dispel the myth of Frescobaldi’s lack of competence in setting his mother tongue to music. And they give a more rounded view of his musicianship than usual‚ and that’s saying something.