Put the question ‘What word would you choose to describe operatic singing?’ and you would get no doubt a fine list of adjectives, some of them what is called ‘choice’, but it is doubtful whether ‘natural’ would be among them. Play a couple of items from this recital and there is a fair chance that that would be exactly the word which the same people would use if asked to describe the singing there. Natural and sincere: no posing, no rhetoric, and certainly no playing to the gallery. This Valentine (Faust) is a modest fellow and has his sister tenderly in view, Prince Yeletsky (Queen of Spades) is selflessly devoted to the girl he wants to make his wife, both Billys (Budd and Baguley of Carousel) are blissfully unselfconscious in their soliloquies, and all the more moving for that.

The other distinction is one which a genuine lover of singing (as opposed to expressive vocalism at musical pitches) is sure to recognize and value: the fineness of texture of each individual note and the seamless way each note is joined to the nest and integrated into the phrase. Rodney Milnes puts his finger on it in his appreciative introduction, where he refers to qualities ‘one is tempted to say [are] unique, certainly as regards legato’. It shouldn’t be unique – it is the central, qualifying condition of the true singer’s mastery of his art. But it is in fact all too rare, and it’s interesting that when we come upon it (the product of fine training and discipline) we say ‘How natural!’.

It’s unlikely that, when it is decided that this admirable series of recitals has run its course, any singing better than this will be discovered from start to finish. It is an engaging programme too, surprises dotted among the firm favourites. It is also notably well accompanied, the Tannhäuser solos being particularly sensitive. I like most of the translations, but am glad they stick to Chorley for ‘Even bravest hearts’. Hamlet’s Drinking song shows that it doesn’t do to be too intelligent – ‘your mindless ecstasy conquers my heart’ may read well; sung, and with repetitions, it is one thing in this recital that registers as positively unnatural.