In her own booklet-note, the Latvian mezzo cites Mascagni’s Santuzza as the starting point for getting into this heavier music. There’s a lot to be impressed with there and in the other Italian numbers, particularly as she gets into her powerful upper register – her final phrase in Adriana Lecouvreur’s ‘Io son l’umile ancella’ is magnificent.

But I detect a shortage of Italianate fire in her slightly hazy lower register, which means her Principessa di Bouillon is no match for her Adriana. She doesn’t do much with the words, either, and seems a little wasted in the two Verdi numbers: I’d rather hear her in ‘O don fatale’ than the Veil Song, and she’s not a natural Preziosilla.

The French items suit her slightly cool voice better. There’s a classy, moving grandeur to Didon’s ‘Adieu, fière cité’, and a lovely wistfulness to her Mignon. Charlotte’s ‘Va! Laisse couler mes larmes’ should itself be more of a tearjerker, though, and her Dalila is more sultry than dangerously sexy.

In short, here’s a beautifully regulated voice negotiating challenging repertoire with ease, going smoothly through the gears. Vocally it’s very impressive, dramatically often less so – an effect exacerbated by dutiful accompaniments and slightly dull engineering. Bonus points for the rarer repertoire; but, while we have full texts and translations, there is nothing about the actual music in the booklet.