Henry Purcell (1659-1695): I love and I must, Z. 382
Henry Purcell (1659-1695): Music for a While, No. 2 from Oedipus, Z. 583 (1682)
Henry Purcell (1659-1695): Hymn, 'Tell me, some pitying angel' The Blessed Virgin's Expostulation, Z. 196 (publ. 1693)
Christopher Simpson (1602/06-1669): Divisions in D major, from The Division Viol (1659)
Henry Purcell (1659-1695): What a sad fate is mine, Z. 428
Henry Purcell (1659-1695): If music be the food of love, Z. 379c (third version) (1692-95)
Henry Purcell (1659-1695): The fatal hour comes on apace, Z. 421
Henry Purcell (1659-1695): The Cares of Lovers No. 10 from The History of Timon of Athens, The Man-Hater, Z. 632 (1694)
Henry Purcell (1659-1695): I attempt from Love's sickness from The Indian Queen, Z. 630, Act III (1695)
John Eccles (1668-1735): Restless in thought (1695)
John Blow (1649-1708): Morlake Ground
Henry Purcell (1659-1695): If music be the food of love, Z. 379a (first version) (1692—95)
Daniel Purcell (c. 1664-1717): Morpheus thou gentle god (c. 1720)
Henry Purcell (1659-1695): O Solitude, my sweetest choice, Z. 406 (1687)

Young British singer Helen Charlston has been quickly creating a positive reputation, initially primarily for excellent early music performances. She has since branched out into music from various later periods, including contemporary. She has recorded ensemble/opera releases in the early music sphere but is perhaps best known for her solo vocal recitals, having won several awards in the past 3-5 years. Most recently she won a Gramophone Award for Best Concept Album and the BBC Music Magazine Vocal Award for her debut solo album, a concept album "Battle Cry" cleverly combining with contemporary and baroque lute songs.

This is the first time I have heard her singing, and I am very impressed. Singing in her native tongue (not always an advantage), there is something very tangible about her vocal timbre, engaging expression along with clear articulation and dexterity. She is ably accompanied by three players with extensive experience in the early/baroque periods that together make up the ensemble 'Sounds Baroque'. They have performed live together, and it shows. They make some beautiful sounds, adding a lean despair to several of the songs and the instrumental interludes that break up the program.

For decades now BIS has offered high quality recordings, particularly in terms of clarity and dynamic range, without going overboard on the latter, and this fits into that mold perfectly. There are no extremes, but the voice and each instrument feel like it's in the same room as the listener. The booklet, with full song texts, focuses mainly on an interview with Charlston, and while it gives insights into the vocal art of Purcell, it is not aimed at an analysis of the individual songs themselves. I found this a very enjoyable recording and I look forward to hearing this singer in some late 19th and early 20th century songs also, for example some Mahler songs where the chamber music textures seem like they would fit her substantial vocal talent well.