It's a fiercely taxing selection...In technical terms, and particularly in his outstandingly idiomatic Italian enunciation, Ovenden proves complete master of his chosen repertory...For some tastes, his vibrant voice may lack traditional Mozartian mellifluousness. But for its artistic use, and for the close partnership Ovenden achieves with the OAE under Jonathan Cohen, I have only admiration.

Ovenden has an attractive voice with bright, ringing overtones which in many ways is well suited to Mozart's music. His easy agility is ideal for the tricky semiquavers in Don Ottavio's 'Il mio tesoro', and neither his low notes nor upper register show the least strain.

Ovenden's singing and characterisations are always satisfying...The Viennese operas are represented by Ferrando's two most popular arias, which are sung lithely and played beautifully, especially by the OAE's uncredited woodwind...this recital is intelligent and refreshing.

Idomeneo's aria finds the tenor sailing through its testing scalework...Cohen and the OAE are well in the picture. Everything seems to proceed at a suitable tempo. The clear recording is welcome, as are the texts and translations.

A most imaginative idea: 13 tenor arias from Mozart’s Italian operas, arranged chronologically...Maybe Ovenden’s attractive, bright tenor is a little light for Idomeneo’s magnificent Fuor del mar, but his rhythm, diction and easy flexibility of voice are exemplary.

The fine tenor Jeremy Ovenden, who has sung most of the major Mozart roles all over Europe and is resident in la bella Italia, sings with an engaging commitment to these joyous creations...accompanied with customary style by Jonathan Cohen and the glorious Orchestra of the Age of Enlightenment. A delightful selection.