It is said Emma Kirkby possesses the voice of an angel. As an early music specialist she has been delighting listeners with her recordings since the 70s, and her brand of pure, predominantly vibrato-less singing has become synonymous with ‘historically informed’ performance practice. Kirkby originally started out as a classics student at Oxford where she performed in a number of choirs and choral ensembles, and it was not until 1974, at the age of 25, that she made her debut in London as a soprano soloist. She has performed with the Academy of Ancient Music, the Consort of Musicke, the Freiburger Barockorchester and the Orchestra of the Age of Enlightenment. In short, Kirkby has enjoyed unmatched success as an early music practitioner in the 20th and 21st centuries, and this new collection from Decca is a wonderful celebration of her career.

For me, the highlight of the set is Kirkby’s 1984 recording of Mozart’s Exsultate Jubilate. Here her voice moves like a string instrument, perfectly navigating the wide interval leaps and delivering flawless coloratura, and her use of pure tone and the absence of excessive vibrato showcase her technical accuracy and impeccable intonation. Others will enjoy Kirkby’s recordings of English music, such as the CD of Purcell’s songs and airs (1982). So well does she sing this repertoire that it’s almost as though Purcell composed for her voice. Her interpretation of ‘O let me weep’ from The Fairy Queen is heartbreakingly beautiful. Although innocent, there is a tenderness and fragility to her sound, exposed by a sparse accompaniment consisting of organ, lute, viola da gamba, and violin. Words come first for Kirkby, and here her diction is faultless and clear.

This comprehensive collection is essential for Kirkby fans, and makes for hours of enjoyable listening.

Alexandra Mathew