In many ways Crowe’s bright, pure tone suits the music well: she is extremely precise and can spin out the lightest of silken vocal lines without any extraneous fuss. Her delicacy is admirable, supported throughout by Malcolm Martineau’s sensitivity at the piano, but she could lend the youthful composer more of a hand.

In wonderful voice throughout, Crowe very much makes this repertory her own. Ascents into the stratospheres are all beautifully and securely accomplished, and those long melismas are tautly controlled and always expressive, never vacuous. Martineau, who has been the series’ presiding genius, is a flawless Debussy interpreter, meanwhile, playing with infinite subtlety, nuance and colour. Exceptional.

Crowe infuses the music with energy and feeling, and song pianist extraordinaire Malcolm Martineau anchors everything impeccably. It’s a beautifully judged finale to a worthwhile series that should stand out even among the many Debussy recordings in this centenary year.