An incredible group of period performers shines a light on Rome during the late 17th and early 18th centuries, when the church’s outlawing of opera triggered composers to create cantatas, oratorios, and motets of operatic flamboyance and sophistication. Sandrine Piau’s performance of the sublime, sighing “Queste lagrime, e sospiri” from Stradella’s oratorio San Giovanni Battista is a case in point. Also exploiting papal loopholes were secular cantatas—a complete performance of Scarlatti’s Su le sponde del tebro is a rare treat, while Concerto Italiano varies the pace with Corelli and Handel orchestral works, plus a beautiful chaconne by Muffat.