Mozartians have had the opportunity before to admire Soile Isokoski, in her recording 10 years ago of Così fan tutte under Kuijken (Accent, 2/94), and – a rather different matter – the more recent Don Giovanni under Abbado (DG, 8/98). Here she is more in Abbado mode. The two Così arias are grandly done, quite steadily paced, with plenty of bright tone in the top register; the triplets in ‘Come scoglio’ are beautifully exact. ‘Per pietà’ is perhaps sung as a concert piece, nothing much to draw our sympathy in the slow music, the final section noble but at this restrained tempo lacking force. ‘Dove sono’ is another strong, forthright piece of singing.

In the same way, ‘Ruhe sanft’ is a shade disappointing, rather slow, lacking in intimacy and gentleness. But the concert arias are all very successful. Ah, lo previdi, an early piece, shows Mozart reaching towards the manner of Idomeneo and Isokoski captures much of its expressive force; the fiery fast section is tremendous and her big manner suits the music well. ‘Bella mia fiamma’ too goes well, although it is more a piece of fine singing than of dramatic expression; the end, taken in full sail, is especially impressive. Her voice is large for Ch’io mi scordi di te?, which was composed for a much smaller one (Nancy Storace, the first Susanna), but it is gracefully and spiritedly done and the interchanges with the piano (Marita Viitasalo) and the orchestra are nicely dovetailed under Peter Schreier’s direction.