To hear her at her best, try “Juliet as a Young Girl” and marvel at the nimble fingerwork and lovely voicing, or “Mercutio” for dash and aplomb, or any of the fast Visions fugitives. It would be possible to assemble a devastating 20-minute demonstration disc from such movements.

Equally, though, you could single out tracks in which mannered shaping, emergency rubati, over-pedalling, effortful phrasing and even occasional mis-learning of notes and rhythms suggest an artist with much to learn. Not having seen Uehara in concert I can’t say for certain, but I would suspect that some kind of compensation may be going on here – exaggerated accentuation standing in for tonal fullness and sustained line. At any rate, in the Sonata she consistently obscures the bigger picture with garish surface detail, and several of the Visions fugitives give the impression of one declaiming poems with great clarity and enthusiasm but only a hit-and-miss sense of the impulse behind the words. No one is saying that a pianist should slavishly follow the composer’s own recordings or the tempi to which Romeo and Juliet is danced, but it is disturbing when she shows no sign of having had such encounters.

Superb recording quality plus instances of star-quality pianistic texturing are not to be sneezed at, and Uehara is undoubtedly a talent to watch. But the evidence of this disc is that her transition from competition gladiator to artist is only just beginning.