Genaux brings a fascinating swagger to the solo motets. Her chest voice has a baritone richness; in higher registers, she can sound virginal or diva-ish. Zooming through scalar passages and leaping around registers, she turns doggerel Latin into moving statements…Urged on by Dubrovsky, the Bach Consort Wien bustles through [the Kyrie and Credo]…this performance would make Vivaldi proud.

Genaux, as we have learned to expect, rides [the waves] with the faultless virtuosity of an expert surfer – a scintillating listen. She is perhaps less at home in Nisi Dominus.

Nearly a decade on from her last Vivaldi album, Pyrotechnics, the Alaskan mezzo sounds as fresh and flexible as ever, and her singing’s disarmingly free from the mannerisms that other interpreters have developed in this repertoire over the intervening ten years: the voice remains beautifully even throughout its wide range (albeit with a bit of extra bite lower down), and the coloratura remarkably clean and unaspirated.

[The voice] is slightly hard-toned although always nimble as she gambols through two “tempest” motets, including the thrilling In turbato mare irato, and the quieter drama of Nisi Dominus. Ideally, the recording’s sound balance should be a little more in her favour, but she still struts her stuff and surely no one could begrudge the extra chance to enjoy the exuberance of Rubén Dubrovsky’s Bach Consort Wien bustling along through music that, as with the best Vivaldi, always improves the quality of life.