It is a sign of the times, and a very healthy one too, that a singer probably associated in most people's minds with Mahler and, in opera, with the German repertoire should be able to produce a recital of this kind. The Rossini excerpts in particular demonstrate the virtuosity which the record's title highlights, with scale-work of lightning rapidity over an easy two-octave range. The programme may also suggest a wider definition of the term, for it includes Carmen's ''Habanera'', where virtuosity lies in the characterization, and the second song in Ravel's Sheherazade where subtlety of colouring and sensitivity to mood are the challenges. Throughout, the unifying factors are the strong, often very beautiful voice and the exercise of intelligently directed, thorough musicianship.
In its origins, the recital is as diverse as in its programme. All the recordings appear to have been taken from live performances, and they derive from at least five different occasions between 1984 and 1988. Some differences in balance and quality are observable and the audience's presence is felt in one or two strategically placed coughs as well as in the applause. No texts are provided, and the notes tell, for instance, that ''O mio Fernando'' in La favorita is ''an established popular solo number for mezzo-sopranos'' and that Nancy's ''lovely aria 'Esser mesto' ('Be unhappy') was a later addition to the Third Act'' of Martha, but they do not give the information most readers will be wanting, namely what the arias are about.
As for the performances they are, as I say, in many ways fine but also with some limitations, both vocal and orchestral. Too jaunty a mood is set in the Pergolesi aria: compare Robert King's version with Michael Chance (Hyperion, 11/88) which is more mindful of the meaning and the context. In the Mozart, the singer's triplets are a little jagged and uneven, compared, say, with Anne Sofie von Otter in the Gardiner recording of the opera (Archiv, 12/91). The runs in Rossini are unaspirated often enough to make one wish they all were. And so on. Yet there is genuine distinction, and if one were to pick a single item for sampling. I think I would choose the Page's song from Les huguenots: supple in the melody, a touch of gallantry about the characterization, and with flourishes that do indeed proclaim the virtuoso.'