My only live experience of Juilliard-trained Korean soprano Hera Hyesang Park was at the final of the 2014 Operalia competition in London, where she and fellow finalists were inevitably overshadowed by the competition’s winner, the mighty Lise Davidsen. Since then, though, Park has gone on to build the foundations of an impressive career, and it’s not difficult to hear why.

The voice is a lovely lyric instrument. It’s agile and light, and blooms beautifully as it rises up the register – something that first really becomes apparent here when we get to a touching account of Cleopatra’s ‘Se pietà di me non senti’. In fact, she’s generally at her best in the calmer numbers: her lovely ‘Deh vieni, non tardar’ is more memorable than the Ilia or Zerlina arias, for example, and Giulietta’s scene from I Capuleti e i Montecchi is exquisitely done. There’s an admirable aristocratic poise to her briskly conducted but affecting ‘Ach, ich fühl’s’, too.

‘O mio babbino caro’ offers plenty of intimate charm, while the two Korean numbers are appealingly done, with Un-Yung La’s heartfelt Psalm 23 offering a touching finale. But while the aria from La serva padrona is sparky enough, her Rossini, though well-schooled, is a little anonymous: Rosina comes across as a rather placid, and Fiorella should convey more self-assurance than we get here, with the vocal flourishes short on sparkle.

One’s left with similar feelings about her Musetta, although having just a couple of minutes of ‘Quando m’en vo’ doesn’t offer much time to get the character across. With able support from Bertrand de Billy and the Wiener Symphoniker, though, this is a promising debut from a very fine singer, and one that offers plenty to enjoy.