The Polish countertenor gives a lithe and affecting performance on this debut album, a collection of largely unrecorded sacred baroque arias. Il Pomo d’Oro flutter and fizz.

If Orliński’s marble-cool countertenor brings the spiritual, then Maxim Emelyanychev and Il Pomo d’Oro offer some deliciously secular friction…In the studio at least, Orliński rides this densely textured accompaniment with ease. It’s an attractive voice that has something of Jaroussky about it )the unworked purity, the easy legato) but with the greater focus and muscularity of a young Scholl, Zazzo or Davies…this is a voice with a big future.

With an earthier, more open sound than his Warner Classics stable-mate Philippe Jaroussky, this young Polish countertenor emerges as a distinctive personality on this collection of sacred baroque arias – the evenness and naturalness of his singing may well win over those who are usually allergic to this voice-type, and Il Pomo d’Oro offer him terrific support throughout, particularly in the three works by Nicola Fago.

The “operatic” aria from Il Faraone sommerso (Pharaoh submerged) by Nicola Fago (1677-1745) and his Latin motets Confitebor tibi and Tam non splendet are remarkable works that showcase the unearthly beauty of Orlinski’s tone, his pearly coloratura and fabulous breath control. He’s only 28, but this is a special voice to look out for.