In range and vocal size Villazón is better suited to Mozart than some of the Romantic scores he has previously sung, even if the very top and bottom of his tenor are less refulgent than his middle register. But he brings enthusiasm and character to everything he sings.

the Mexican tenor is temperamentally incapable of being bland or emotionally disengaged...Stylistic reservations centre above all on Villazon's intermittent scoops and slides...[his] ardour and dramatic energy ensure that enjoyment usually outweighs frustration...Pappano gets vital, elegant playing from the LSO, who fully match Villazon's fire in the faster numbers

Although he sounds in healthier voice than he has for some years now, his timbre and vocal mannerisms - portamento, a penchant for glottal sobs when the emotional temperature rises - remain that of a Latin Romantic tenor....Pappano and the LSO provide Villazon with sympathetic accompaniments.

The repertoire ranges from a grovelling tribute to Archbishop Schrattenbach by the 10-year-old prodigy to an outstanding substitute solo in a Hasse opera for his first Idomeneo, Anton Raaff. Villazon is at his best in the comic numbers.

It’s a fascinating collection, with some striking unearthings...the range of Villazón’s technique is demonstrated by his rapid-fire syllable-shower of “Clarice cara mia sposa” .

Villazón addresses the stylistic challenges with all his characteristic commitment, but there are moments when one wishes he would cool it a bit...The LSO and Antonio Pappano (who also sings bass briefly in a patter duet) provide elegant accompaniment

All are entertaining fare, punched out with passion and personality by a singer clearly enjoying himself and flying free. Antonio Pappano is also grinning as he conducts the London Symphony Orchestra, hurtling along in music intoxicated with its own invention. I wore my own grin right from the opening track