Operalia winner Aida Garifullina was signed to an exclusive recording contract by Decca back in 2015. It has taken a while, but now, with the release of her self-titled debut album – an exquisite selection of 19th-century songs, arias and folk-lullabies – we can finally hear why.

The Russian lyric soprano has a wonderful technical ease which, coupled with a full, even tone, promises much for the future. But, in case you’re judging a singer by her repertoire, it’s worth pointing out that this disc doesn’t tell the whole story.

Glancing down the generous programme from Juliette’s Je veux vivre to the Bell Song from Lakmé and the Queen of Shemakha’s two arias from The Golden Cockerel, you’d imagine perhaps a lighter, higher voice than you actually get. It’s a sleight-of-hand that’s far from unpleasant. Transposed down a tone, the Delibes gains in resonance and colour – these are bells of burnished gold rather than silver – and while Garifullina’s Juliette feels more poised society hostess than love-struck innocent, she’s one you’d clear your schedule for.

Coloratura showpieces aside, the bulk of the disc comprises Russian repertoire, much of it glancing to the East and drawing on the soprano’s Tatar heritage. Garifullina is at her best in the heady, heavy exoticism of Rimsky-Korsakov’s Song of India from Sadko, the romance of Rachmaninov’s Siren and his exquisite extended Vocalise, sung here with real delicacy and a sense of nostalgia that’s never overworked.

But here as elsewhere, despite a programme that should come with a high sugar-content warning, there’s a lack of indulgence to Garufullina’s delivery, a refusal to deviate from metronomic precision, that gives the music a slight stiffness. Everything is very correct, and efficiently accompanied by Cornelius Meister and the ORF Radio Symphony Orchestra, but lacking the authority and, most impotantly, the playful musical manipulation that more experience will hopefully bring to this exciting young performer.

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