His long stretch from Figaro, where the Count attempts to seduce Suzanna (sung by Nikola Hillebrand) is particularly full of emotional twists and turns, and in his 'Fin ch'han dal vino' from Don Giovanni you can hear the braggadocio in his voice.

It’s a beautifully constructed album. This is no haphazard assembly of Mozart’s baritone (and bass) arias, but is thematically built. Schuen begins with Figaro, an early role (he tends to sing the Count these days)...There’s a rich bite to Schuen’s baritone and this interpretation is clearly ‘lived in’.

This is a big, handsome, muscular voice which sounds just about ready to take on Verdi roles now...It's especially interesting to hear Schuen as both protagonist and antagonist in Figaro, the servant exuding the same machismo and cold fury as his master when he denounces his fiancee’s apparent faithlessness, and there’s a similar kinship between Schuen’s Giovanni and Leporello - the latter’s Catalogue Aria sung almost as seductively as the former’s serenade.