However, I suspect you'll most enjoy meeting Francois-Adrien Boieldieu and Adophe Adam, best remembered for the occasional overtures and ballet music.
Florez has not lost his divo appeal. The final and title aria, from Gounod's Romeo and Juliet could have many wanting to be up in that balcony.
Classical singers can be drawn into some extraordinary projects. Leontyne Price assassinated show tunes with Andre Previn in the late 60s; more recently, Sandrine Piau deserted Handel for Rodgers and Hammerstein.
Magdalena Kozena's new Prayer album, with organist Christian Schmitt, is another such venture. Despite the Czech mezzo's sincerity, this recital is an embarrassing misfire.
Lieder by Schubert and Wolf are hit-and-miss. The best Wolf, a rapturous welcoming of imminent death, has the benefit of a dramatic arrangement by the composer Reger.
Schubert's Ave Maria, under its original title, Ellens Gesang III, is cold and drawn-out.
Despite Schmitt's ingenious registrations, Purcell's The Blessed Virgin's Expostulation is burdened by Kozena's heavily-accented English.
Only Durufle's short Notre Pere has the simplicity needed - the same openness that made Norwegian jazz singer Karin Krog's 1980 album, With Malice Toward None, recorded with organ in an old Swedish church, such a classic.
Classic CD
Juan Diego Florez: L'Amour (Decca)
Kozena: Prayer (Deutsche Gramophon)
Verdict: Two recitals show star singers undertaking unexpected ventures, with mixed success.
