Rossini’s heroines, and in this case a few heroes as well, are notoriously demanding roles. Silvia Tro Santafé began her professional career at the Rossini festival at Pesaro, and has made something of a speciality of the three main comic roles in his operas (Rosina, Cenerentola, Isabella). She begins with two extracts from L’italiana in Algeri, and although there are only a couple of moments here where she can demonstrate her comic skills, there is a definite twinkle in “Cruda sorte!”. Where necessary all the other characters are present for their brief interjections, and the Lluis Vich Vocalis chorus provide the essential support in the big moments from the final scenes of L’italiana and La Cenerentola. Of course, one cannot help comparing Santafé in these with her illustrious predecessors, Supervia and Berganza. As yet she hasn’t quite their facility at investing the lyrics, or the coloratura, with a completely individual quality. Her diction is exemplary, and she negotiates all the rapid runs, trills and leaps without any apparent difficulty.

The other inevitable name for comparison is that of Marilyn Horne, and the trouser roles of Malcolm in La donna del lago and Arsace in Semiramide seemed almost Horne’s exclusive property 30 years ago. It is in these parts that Santafé provides her most confident singing. The jaunty cabaletta to “Mura felice” has an engaging swagger to it, especially at the words “Tutto è imperfetto, tutto detesto”. As for “Ah, quell giorno”, if a suitable Semiramide could be found to partner Santafé’s Arsace, this opera might prove viable again. The Navarra Symphony Orchestra under Julian Reynolds provide sensitive accompaniments throughout. This is a most impressive recital.