What does stand out…is the mature warmth of musico-dramatic approach informing both singing and characterisation…His combination of technical brilliance and imaginative sentience, of long-breathed phrasing and fearless attack across the tenor compass, makes this a superb and splendid achievement.

As often with Flórez, things are most engaging when he allows himself to relax, as he does in eloquent accounts here of Don Ottavio’s and Tito’s arias…The highlight is perhaps the terrific concert aria that concludes the disc, performed with a welcome sense of expansiveness.

Florez can’t resist embroidering the music in the style of the Italian bel canto composers, which works better for Ottavio’s solos than for Tamino’s Portrait aria or Belmonte’s florid Ich baue ganz....Ferrando’s Un’aura amorosa — beautifully caressed — and Ottavio’s numbers recall the days when tenori di grazia specialised in this rep.

Alexander the Great’s aria from Il Re Pastore sounds unassailably heroic; two arias for the titular emperor of La Clemenza di Tito find Flórez shaping smooth, firm lines, sounding imperial yet not imperious...Minasi’s orchestra is full of bounce, texture and character.