Emily Owen and Jenni Harper, discoursing with a trio of superb continuo players at every twist and turn, intermingle responsively in half a dozen contrasting duets selected from Barbara Strozzi’s Venetian publications. ‘Mercé di voi, mia fortunata stella’, the sonnet that introduces Op 1 (1644), is declaimed in an undeniably precise English manner. Nevertheless, throughout proceedings the duo cultivate quicksilver agility and reflectiveness, and they adopt astute personalities to communicate poetry and moods. Three duets from Op 2 (1651) include a self-pitying jilted lover seeking solace in sleep (‘La riamata da chi amava’), infatuated worship of a beautiful woman that hints at cheekiness (‘Begl’occhi, bel seno, bei crini, e bella bocca’) and a blatantly erotic description of sweet kisses compared to wanton vipers biting each other (‘I baci’). Two duets from Op 3 (1654) have the sopranos cascading back and forth in depictions of entertaining flippancy (‘Desideri vani’) or bittersweet melancholy (‘Begli occhi’).

Each singer also stands alone in a couple of cantatas or songs apiece. ‘L’amante segreto’ (from Op 2) is interpreted slyly by Emily Owen (accompanied only by theorbist Toby Carr) as a lover who protests far too much that they would rather die than have their obsession revealed publicly. The witty song ‘La sol, fà, mi, rè, dò’ (also from Op 2) is performed brightly by Jenni Harper (with just harpsichordist Satoko Doi-Luck), although its blatant comedic innuendo is too understated. Harper uses a range of vocal colours in lamentation of suffering torture at the hands of Cupid (‘Che si può fare?’ from Op 8, 1664), whereas Owen’s theatrically charged feistiness and bitterness enact a lover’s reaction to betrayal (‘Amante ravveduto’ from Op 6, 1657). There are several well-chosen instrumental interludes: Doi-Luck displays a fine sense of touch in a Merula toccata, Carr offers mellow chiaroscuro in a partita and variations by Alessandro Piccinini, and they are joined by Kate Conway’s suave viola da gamba in pieces by Frescobaldi and Marini.