William Christie's and Kenneth Weiss's Jardin des Voix is now established as a biennial boot camp for emerging young, baroque singers, who, after a spell of intensive training, are sent on tour with the orchestra of Les Arts Florissants.

As with the grown-up Arts Florissants, Christie's choice of voices is not always a guarantee of solo brilliance. Of the 10 singers in this programme of madrigals and opera extracts, there was a handful whose sound was very small; and yet none performed with anything less than total stylistic assurance. Clearly, if you are going to learn Monteverdi's peculiarly fluttering ornamentation, or how to dispatch a Handel run like a gunshot, there are few better teachers than Christie - who conducted the orchestral numbers but otherwise sat hawk-eyed and smiling, mouthing the words like a competitive father at the school nativity.

Often the ensembles were the most effective. Monteverdi's quintet Io mi son giovinetta was skilfully done, and tenors Juan Sancho and Pascal Charbonneau were a stylish duo in his Mentre vaga Angioletta. In arias by Handel and the closing chunk of Haydn, the orchestra was at its most vivacious, but the lack of mature heft in the voices was more noticeable.

It was in numbers from Monteverdi's Orfeo that two soloists stood out: British tenor Nicholas Watts in the hero's complex Possente spirto, and Israeli-Italian soprano Claire Meghnagi, whose voice is as yet slightly unruly but big and radiant, in La Musica's introduction to the opera. All the others were onstage to listen to her; this might have been part of Rooke's plan, but perhaps it was because they didn't want to miss the most promising singing of the evening.