Zaremba‚ as she showed a few years ago at Covent Garden‚ has one of those rich‚ voluptuous mezzos that entrance the ear. Here‚ as Kochakovna‚ she proves ideally cast. She is no less impressive as Lel in The Snow Maiden and as louring Marfa. All these parts exploit to the full her innate gifts to project drama and character. One would like to encounter her in them in the theatre at any time. When she moves into French and Italian repertory her attractions are less obvious. The benefits of her secure and full­blooded delivery remain but‚ in languages other than her own‚ the characterisation is less specific. Her Carmen and Dalila are seductive enough‚ but her French is indifferent and there isn’t enough light and shade in her readings. The same is true of her singing‚ this time in Italian‚ Donizetti’s Leonora‚ but here the projection of the cabaletta is not to be resisted. Her Azucena and Ulrica are powerful rather than subtle; again her attack is vital. Poor La Cieca’s ‘Voce di donna’ is most generously done‚ but perhaps too grand for the situation. Still‚ as a whole‚ the pluses of this recital well outweigh the minuses. The orchestral support and recording are both excellent. At the asking price‚ lovers of fine voices will want to investigate.