Daniel Taylor must feel like a kid in a sweetshop sometimes. In projects with his ensemble, the Theatre of Early Music, he has collaborated with an impressive variety of leading singers, and for this Shakespeare-inspired programme consisting of a handful of the Bard’s lyrics set by Robert Johnson, Thomas Morley and Edward Johnson plus further songs and instrumental solos in similar spirit, he has gathered a line-up which includes some of the most experienced lute-song interpreters in the business, with a top-notch instrumental team to match. This is de luxe casting, allowing combinations from accompanied lute songs to an a cappella duet, and lute solos to five-part madrigals.

With so many artists involved, the only one who appears on most of the 21 tracks is lutenist Elizabeth Kenny; Taylor – with one of the loveliest countertenor voices in the business – is on nine, happy it seems to let others into the spotlight, with every other singer getting at least one solo spot. But Dame Emma Kirkby sings only twice, and Michael Chance only four times, though one of them is a splendidly knowing “Take, O take those lips away”. Charles Daniels gives a plangent account of Dowland’s “Come again, sweet love”, and Neal Davies an ardent “Full fathom five” by Robert Johnson. Carolyn Sampson also pops up in typically radiant readings of two Purcell songs.

Yet though there is no lack of artistry here, the singing does not always sound entirely comfortable – a slightly dry acoustic does not help – and the part-singing has little of the tonal blend we would expect from a regular ensemble. The diffuseness of the programming perhaps also works against itself: quite simply, you feel that it and its performers are never really allowed to get into their stride.