While Mariño clearly possesses a good dynamic range, his highly individual, often ethereal voice registers as on the slender side. Generally he appears happiest at the top of his range, especially in the exciting Oreste aria, though less so in the first from L’amant anonyme.

Mariño certainly has a distinctive instrument that will delight fans of the Jaroussky school of hyper-pure, boyish countertenors. Imagine a really excellent boy treble with better technique, flawless high notes and nothing at all below the stave, and you have Mariño.

Skip straight to ‘Aer tranquillo’ from Mozart’s Il re pastore (composed for Tommaso Consoli) to hear what makes Mariño so special: the high tessitura fits him like a particularly well-tailored glove, with no hint of pressure or discomfort in the tone..Tiny caveats notwithstanding, there’s much to enjoy here, and the orchestral playing throughout is scintillating.

The words “radiant” and “pure” come to mind, with “thrilling” perhaps jumping in when the throat opens wide and the notes blaze away, fierce as the unfiltered rays of the summer sun. At other times, when Mariño is quiet, the comparison is more with icing sugar, or a shepherd’s pipe.