The opening cantata by Marcello, Arianna abbandonata, is a perfect example of the full-blooded, committed singing of which the mezzo is capable. Demonstrating immaculate vocal control and her usual sensitivity to text, she sings with conviction and style. Suitably anguished in Come mai puoi, where she sings with an astonishing array of colours as Arianna pleading for the return of Theseus, she shows off her still formidable virtuosity in the spirited Che dolce foco in petto, anticipating their reunion.

Similarly impressive is the mezzo’s handling of Ombre, cure sospetti, an aria from Gasparini’s oratorio Atalia. As the murderous queen, she moves effortlessly between feelings of despair, guilt and self-loathing, digging into the words with relish and blanching the tone as she considers what fate has in store for her. This same intensity of approach informs her reading of the Handel cantata Ero e Leandro. Balancing a sense of grand drama with subtle, deeply-felt emotion, the mezzo offers up a heart-wrenching Si muora, si muora, which sees the titular nymph begging to be reunited in death with her beloved.

Testament to her versatility, Kožená brings an admirable lightness of touch to Leo’s pastoral cantata Angelica e Medoro. Not only does she sound remarkably fresh of voice, she also sings with a gorgeous artlessness that never feels put on, phrasing beautifully and wielding a molten legato.