Anyone who’s heard Gerhard Siegel live will know that he’s a formidable performer, and in Wagner’s Ring a Mime who has power and top notes to rival many a Siegfried that he’s paired with. There’s certainly no doubt with this album that this repertoire is in strong safe hands: there are a sturdiness and an instinctive projection of words that have to be admired.

However, these are largely songs that require more than that. Siegel’s utilitarian timbre is out of place in the sensual dreamworld of Wagner’s Wesendonck Lieder, where, at lower volumes, one notices that maintaining steadiness and intonation are rather too effortful. There’s integrity to the performances, and they’re certainly involving and impressive in their way, but listen to Christoph Prégardien’s recent account with Michael Gees to hear what a difference a bit of honeyed tone can bring if one wants a tenor-and-piano version.

There are similar issues with the Strauss, where in such numbers as ‘Die Nacht’ and ‘Für fünfzehn Pfennige’ Siegel struggles to project tenderness, intimacy and wit. He’s impressive in songs that pick up a head of steam: ‘Zueignung’ starts off uncomfortably but concludes in a blaze of strength, while ‘Geduld’ builds up powerfully. ‘Ich trage meine Minne’ proves touching, too. For the record, Gabriel Dobner plays sensitively throughout. But with many more seductive, polished and no less powerful voices in the catalogue in the Strauss especially (one thinks of Jonas Kaufmann and Ben Heppner), this album is difficult to recommend.