Pe’s voice is strong and clear-toned. He shows agility in the long runs…and his decorations of the vocal line are bravely inventive. He projects the tender aspects of Caesar’s character well, though the imperious elements require a little more ‘edge’ and fire…This is a fascinating collection, and Pe engages commendably with such a range of music originally written for so many different voices.

You might be forgiven for expecting a bit more, well, warrioring in these portraits of a great statesman and military hero but it’s as a lover that we see him almost exclusively. Thank goodness for Hande;’s ‘Va tacito’ and ‘Al lampo dell’armi’, where Pe can flex his coloratura muscles and give us irony and ferocity to break up all the elegant languishing.

Pe is naturally blessed with a voice that not only is an intrinsically beautiful instrument in itself, but also is strong and conveys masculinity in a way not achieved by all his colleagues. Which of course makes him a potentially ideal Caesar…But my major caveat is Pe’s ornamentation in da capos, which frequently strays much too far from the melodic line.

We live in a golden age of countertenors, but few today are as exciting as this young Italian...Pe’s rich Italianate voice, astonishing breath control and dazzling technique make light of the coloratura of Pollarolo’s aria Sdegnoso turbine, but his expressive accounts of Handel’s duet for Sesto and Cornelia (with Rafaella Lupinacci) and Ariodante’s Scherza infida — slowish, but wrenching — are the highlights.