Costello is not quite 40 and is already going far in the operatic world. This recital should certainly give him even more of a boost. One hopes that more emphasis is given to characterization, as some numbers here are just a smidgen on the bland side. However, Percy’s aria from Anna Bolena and “Fra poco a me” from Lucia are absolutely splendid. The sound is fine and unpretentious as is the accompaniment. There are good notes placing each aria in context and gratefully, texts and translations.

Costello’s voice readily contours itself to the French of arias from La fille du régiment. High notes are healthier and more full-bodied than before…One happily returns to Costello’s warmth of tone and the wonderfully scaled vibrato that never disturbs the long-term vocal line…He nails the multiple high Cs in ‘Ah mes amis’, though what handily puts him across the finish line is the overall characterisation and larger sense of musical intent behind the vocal athleticism.

This will complement any opera collection.

This rather unassuming album is one of the classiest vocal recitals of the whole year. Now in his late thirties and gently moving towards heavier roles, the American tenor made his name in bel canto, and everything about this gloriously sung recital (predominantly Donizetti) suggests a voice reaching its prime. He brings unusual heft and virility to Tonio’s ‘Ah, mes amis!’, and his golden, open sound has echoes of the young Pavarotti.