Semele is a masterpiece. For what else can one call a drama in which the perfect symbiosis of text and music conjures up such suggestive power? ‘To hold the mind, the ears and the eyes equally spellbound’: this recommendation by La Bruyère (Les Caractères: ‘Les ouvrages de l'esprit’) refers to the ‘machine plays’ so adored by the public in the Baroque period. But even without machinery or indeed without sets or real staging, Handel’s oratorio involves us in the tragic fate of his heroine with supreme skill.

Julie Roset, a young French soprano from Avignon, immediately attracted attention with her first recital for Ricercar (Nun danket alle Gott with Clematis) and went on to record a recital of works by Sigismondo d'India with Mariana Flores that met with great critical acclaim. In this new recording she tackles several of Handel’s masterpieces on religious themes: his Salve Regina , Gloria and the motet Silete venti were all composed at the time when the young Handel had been inspired to new heights by his discovery of Roman musical life.