Werner’s voice flits between natural directness and operatic expression...Most of these pieces rely on clear interplay between soprano and instrumentalist, brilliantly done yet sometimes with the feeling of a twisted vocal exercise or a 1960s art happening, and yet all encompass the moulding of the human voice, at which Werner is expert.

It is hard not to be in awe of Héloïse Werner: a soprano of extraordinary range, tone and vocal abilities, possessing a seemingly inexhaustible expressive range.

Werner's high-energy, Cathy Berberian-ish virtuosity in the sequence from Aperghis's Récitations and her own dizzying Unspecified Intentions (which fits very naturally in between the Aperghis selections) is so startling that you might need a breather before carrying on - but there's real heart and soul alongside the avant-garde pyrotechnics throughout this recital of new works, particularly in Werner's deeply personal Confessional and Nico Muhly's radiant Benedicite Recitation for voice and flute.

The French soprano and composer’s debut disc is an engrossing exploration of the range of the human voice, which Werner pushes to its limits and beyond on works by herself and those of fellow visionaries such as Josephine Stephenson, Cheryl Frances-Hoad and Nico Muhly.

Complemented by the fine playing of Harman, Power and their colleagues, her sense of fun gives even the most daring pieces a light and engaging touch.

Phrases (Delphian), displays her versatility as a singer and composer, but as musical catalyst too. … Werner’s four songs (including Syncopate, with Zoë Martlew), from vocal acrobatics to verbal confession, and Récitations by the Greek experimental composer Georges Aperghis complete this distinctive album.