celebration of the English, Italian and German Baroque? Or a celebration of one of Decca’s most marketable sopranos? It would be lovely to say this album was both. But the beauty of this repertoire has been brushed aside to make room for an underwhelming diva showcase.

Danielle de Niese’s breathy, pop-inflected delivery, lazy diction and apparent disregard for both text and context do this music scant justice. Ombra mai fu, Dido’s Lament and Sheep can safely graze all receive saccharine, underpowered treatment with a shockingly pinched upper register for such a young singer.

The relentlessly slow-and-ethereal vibe of the album does de Niese no favours either, highlighting as it does her one-size-fits-all approach. Occasional coloratura passages liven up proceedings slightly, but are not stylishly handled.

Her voice is not fundamentally unattractive – indeed, there’s a certain prettiness to it which, coupled with her lithe stage presence and certain genetic blessings, has gained her a large and devoted following – but her singing here fails to live up to the promise of the album’s title.

The English Concert plays well, but with only marginally more vibrancy than its soloist. The only person to emerge triumphant here is guest artist Andreas Scholl.