Both Marjanne Kweksilber and Magdalena Falewicz are superb as Euridice and Amor. The former sings a women's-lib version of Euridice, with great emphasis and passion; she is an active part of this drama. Falewicz's Amore is similarly aggressive--not just run-of-the-mill perky, but quite pleased with himself.

Sigiswald Kuijken leads with what must have been startling attack 26 years ago; tempos are vigorous, winds are spicy, strings slash away. He treats the gentle ballet music with great care, however--it's an appealing oasis. No less than Philippe Herreweghe leads the chorus. The libretto is a facsimile of one from the King's Theatre in 1773; it is charming and not always easy to read. There's no reason why this recording of the 1762 version, along with John Eliot Gardiner's, should not be tied for first place--if, of course, you're looking for a countertenor in the title role. Bernarda Fink makes a fine Orfeo under Jacobs' baton as well.

--Robert Levine, ClassicsToday.com