This 28-year-old French-Canadian contralto – glad she calls herself that rather than the ubiquitous mezzo – is a highly intelligent artist (The Gramophone’s One to Watch in February 2004) whose gifts stretch far beyond being merely well-schooled. She reminds me very much of her Canadian compatriot, Maureen Forrester, of a generation ago. There’s the same velvet-like voice and generosity in phrasing and thought.

The absorbing six songs that make up Op 86 are all easily encompassed by Marie-Nicole Lemieux, not least because her technique is so secure that she can pay attention to the meaning of each song. Feldeinsamkeit, so inwardly sung, and Todessehnen receive particularly thoughtful readings, all supported finely by Michael McMahon’s perceptive playing.

The nine songs of Op 69 are expressly designed for a woman and have their moments, but they are among the less inspired in Brahms’s large output of Lieder. Not so, of course, the two songs with viola – the admirable Nicolò Eugelmi here. To these gently lulling, timeless pieces, Lemieux brings the sovereign virtues of firm line and apt phrasing.

The CD reaches its zenith in Brahms last and greatest Lieder, his Vier ernste Gesänge. Lemieux rises to their challenge, again recalling Forrester. The interpretations are properly earnest, but intimate, never overblown. Here and there, as in other places in the programme, I would like just more pointed word-painting, but there’s time for that. Her partner is again exemplary in his discreet yet positive playing.

A natural acoustic adds to the pleasure to be gained from this sensibly planned recital, which I highly recommend.