There’s no getting around it: Christina Sandsengen is pretty easy on the eye. But the playing on this entry-level recital, ideal for classical guitar newbies, is impressive enough to sway even the most sceptical classical guitar aficionados. The first thing that strikes you about Sandsengen’s interpretations is that they are pianistically conceived: each tone is very much a sharply discreet entity and yet fused to the totality through a masterly sense of tonal and rhythmic hierarchy, and it’s no surprise the piano was her main instrument until she took up the guitar at 15.

The recital opens with a terrific account of Domeniconi’s Koyunbaba, like the majority of the works here one of the most popular in the repertoire; it closes with Gismonti’s haunting Agua e vinho, which connects as easily with Sven Lundestad’s nocturnal, jazzy Late at Night as Koyunbaba does with Barrios’s sweetly pious La Catedral. In between these more recent works lies the programme’s Romantic core, of which Albéniz’s Mallorca and Dionisio Aguado’s Rossinian Andante and Rondo are perhaps the most successful. For if, in the former, she presses the melody against the underlying harmonies to produce an exquisite brocade effect, in the latter she lets her hair down, the Andante’s mock pomposity leading to a salon-lite Rondo of tremendous fun.

And yet Sandsengen’s best playing – by turns emphatic, fragile, bold, tender and wild – can be heard right at the beginning, in Koyunbaba. It’s no mean feat to force you to reappraise such a well-known work. Sandsengen pulls it off.