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This is the second wave of issues from Rosenblatt Recitals, equally welcome as the first. The Recitals tend to present singers who are less well-known in the UK, or more established names offering repertoire generally not associated with them.

Ekaterina Siurina, known for her operatic appearances, has recorded a song recital. She has a lovely soprano, sweet and fleet, but the first song sounds not dissimilar to the last. It turns into ‘guess the composer – Verdi, Bellini, Donizetti or Rossini?’ So it’s all very pleasing as a parlour game but regretfully not very exciting. Siurina has a lot more to offer than this disc suggests. Iain Burnside accompanies idiomatically.

I preferred the Ailish Tynan disc of Fauré Mélodies, for although this is an even narrower sound world than Siurina’s the soprano sings with a wider vocal and emotional palate. Tynan has a strong lyric soprano, not overly-distinctive, but capable of caressing a line while also providing some bite. Her phrasing is sound and she keeps the line buoyant and resists the temptation to let the music sag. This means that she misses a je ne sais quoi, perhaps the addition of a dash of French languor to her songs, but she does differentiate mood and communicate it with style. Burnside abets her in her achievements.

Last is Francesco Meli, one of the great tenor hopes of his generation. This is a fresh and lively voice that pings out of the speakers. His programme is interesting, for he essays Britten’s Michelangelo Sonnets and Liszt’s Petrarch Sonnets, coping admirably with the first group’s shifts of mood and colour and the second group’s demanding tessitura. In-between, Meli offers some Tosti and Rossini songs, gracefully despatched. There are also three live recordings: ‘Le rêve de des Grieux’from Massenet’s Manon, beautifully floated, and a fine ‘Ah, lève-toi, soleil’ from Gounod’s Roméo et Juliette (not Faust as the booklet would have us believe). He slightly undoes his good work with an over-excited ‘La mia letizia infondere’ from I Lombardi, but surely we can forgive him that.

Francis Muzzu Read the full review on Agora Classica

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