There are still those who shrink from operas of the verismo school as they might from a huddle of knife-carrying hoodies. And, of course, in giving assurance that here we have only the tender face of verismo one risks scaring them off as from an orgy of sentimentality. Perhaps we shall have to give it up as a lost cause, but that would be a pity for here is a recital which might prove acceptable even to the most resolute of the anti-verismo brigade. It is all heart, but not worn too shamelessly on the sleeve. This singer knows restraint, and the value of variety too, as the heart, heavy-laden in one aria, is lightened in the next.

Renée Fleming, or her advisers, have chosen well. They seek out pieces from the lyric repertoire and avoid the more violent emotions. Not that Fleming’s voice lacks the warmth and darker tones that often carry a deeper human appeal (the chest tones come movingly into play as Mimì, with noble control of her feelings, makes her simple arrangements in the Farewell). And there are times – Manon Lescaut’s cries of protest at death’s imminence – when the Italian tradition does expect a more forcefully vibrant tone and a more painfully raw show of emotion. But the feeling throughout is generous and true. Characterisation (as with the childlike heroines of Mascagni) infuses the voice without being applied like make-up. And the inclusion of some unexpected charmers – the solos from Leoncavallo’s Bohème have the lilt of good operetta – is most welcome.

Care has been taken to supply other solo voices when these are part of the score, and indeed, in the final number we have the luxury “extra” of Jonas Kaufmann’s rich tenor to lead the bewitching ensemble from La Rondine: the balance of the parts is not ideal but the piece remains irresistible, and it’s good, after all the sighs and tears, to come out rejoicing.