The French connection of Natalie Dessay’s beguiling allure and the seasoned theatrical brio of Emmanuelle Haïm finds a curious resting place in these solo cantatas. For all the freedom of expression, the inherent vitality of Jauchzet Gott in allen Landen resonates in the modern Italian concerto, with the soprano (especially in the last Alleluja) out-sparring the duetting violins and obbligato trumpet – played stunningly here by Neil Brough – in one of Bach’s most spectacular displays of unabashed virtuosity.

The issue here is essentially one of technical and musical suitability in Dessay’s case. As one of her fervent admirers, my disappointment is rooted in a mannerism of vocal production: it’s a kind of mellifluous approach where she toys with the music, an almost seductive intention (especially obvious in the recitative and “Höchster” from BWV51 and a good deal of Ich habe genug), which fails to respect the generic expectation – in dialogue and passagi alike – of Bach’s tough “workout” of line, evenness of tone and rigorous instrumentalism of its execution.

The upper reaches of the voice are often brilliant but Dessay’s singing on the stave is really not tonally that captivating unless the music cries out for manipulation. Ich habe genug takes time to settle, suffering from poor intonation in the opening aria (both from voice and flute) and with rhetorical conceits resonating comfortably only when Haïm’s fine instrumentalists dominate. “Schlümmert ein” is the most successful with some impressively controlled singing but altogether it amounts to foppish sensuality, which seems to eschew the contemplative for the merely gestural.

Mein Herze schwimmt in Blut is arguably best suited to Dessay’s temperament – and she truly grasps the opening – but I can’t help thinking of Elly Ameling and the young Barbara Bonney for Harnoncourt, to recall what vocal nobility is required here to deliver this profound journey from torment to reconciliation.