There have been too many vanity-based recitals of Handel arias, and a few more are in the pipeline. This is not one of them. One of the satisfying approaches to programming Handel arias is to get under the skin of a few chosen characters or singers. All the arias here were composed for the mezzo-soprano Durastanti or the castrato Carestini. Two less familiar arias from Ariodante put the popular “Scherza infida” and “Dopo notte” into a finer sort of context than usual for such programmes (although the relevant portion of the booklet essay confusingly implies that Ariodante was composed for Durastanti). Kirchschlager’s singing is ardent and intelligent, but it is a pity that she did not wait to record Ariodante’s arias until after she has sung the role on stage: “Scherza infida” is perhaps too feminine and lovely here, without the brooding streak of bitter reproach.

Considering Kirchschlager’s success in Glyndebourne’s Giulio Cesare, it is inevitable that she gives dynamic renditions of Sesto’s best three arias. The fullest source of delight here is Laurence Cummings’s marvellous direction of the excellent period-instrument incarnation of the Basle CO; zesty in extrovert music and deeply eloquent in slow music. If nothing else, this is worth having for the tremendous performances of five arias from Arianna in Creta: Tauride’s “Qual leon” (featuring two horns) is one of Handel’s finest baddie arias. Here, at long last, it gets the sort of recording it deserves.