Things bode well when you shout ‘Bravo!’ at the hi-fi speakers at the end of the first track…The amiable Mexican throws himself into this repertoire with abandon, greedily lapping up the florid coloratura excesses with ease. He has a wonderfully flexible voice without any hint of nasality or the slightly metallic top of someone like Juan Diego Flórez, the only other tenor who could currently tackle this sort of stuff with such easy elegance.

Ramiro’s aria from Cenerentola demonstrates Camarena’s extraordinary facility and easily accessed top register. The Count’s ‘Cessa di più resistere’ reiterates his absolute command.

On paper, a programme of bravura showstoppers by Rossini and the Spanish tenor Manuel Garcia might look like a slightly relentless prospect, but there’s a charm and sweetness to Mexican tenor’s singing that’s hard to resist. The Garcia curiosities come across well, but the highlight is Ramiro’s aria from La cenerentola, despatched with a tangible excitement that makes it abundantly clear why Camarena was granted a rare encore after singing it at the Metropolitan Opera in 2014.

Camarena’s tenorino di forza just about manages Almaviva’s florid Cessa di piu, from Rossini’s The Barber of Seville, but the five Garcia items and a Zingarelli rarity are choice works, excitingly delivered.

Camarena has a rich-bodied tenor, clarion at full throttle. His acuti are exciting, his phrasing exemplary; his coloratura is remarkable for its blend of robust tone and agility.