Historical performance practice has its own story too. It is fascinating to encounter, towards the end of the first decade of the 21st century, recordings from the 1980s. Emma Kirkby, who is still active today, was considered to be the uncrowned queen of emotional, instrumentally-led vocal tone, which was seen as paradigmatic for performances of baroque music. In Handel’s Latin motet “Silete, venti” she gives a virtuoso example of her art. Since the work cannot have been written for the Anglican church service, the supposition remains that Handel wrote it especially for one of his much-loved female vocal virtuosi from the opera company. Emma Kirkby’s colleague Sophie Boulin is no less a virtuoso than the English woman, as is proved by the cantatas by Bach and Hasse. The occasion and the exact circumstances for the creation of Bach’s cantatas “Non sa che sia dolore” BWV 209 are not known; possibly the piece was even written by another composer. “La Gelosia” (“Jealousy”), the solo cantata written in 1762 by Johann Adolf Hasse and based on a text by his preferred librettist Pietro Metastasio, conveys in exemplary fashion an impression of the style of the courtly aristocratic Italian opera.