Almost six years on from the release of a handsome account of Schwanengesang (6/16), James Rutherford and Eugene Asti are reunited for Winterreise. As with the earlier release, there are many things to celebrate: the bass-baritone’s rich and rounded voice, primarily, as well as his beautifully natural way with the German – he’s long been a stalwart of several major German-speaking stages.

All the songs are performed down a minor third, meaning both that Schubert’s key relationships are maintained and that everything sits comfortably for Rutherford’s voice – perhaps rather too comfortably for an interpretation that already steers a sensible, objective course through Schubert’s 24 songs. Instead of the sharply etched corners and hand-wringing despair we sometimes get (as epitomised, for example, by Ian Bostridge’s most recent account – Pentatone, A/19), Rutherford remains unflustered, happy to let the poetry and words speak for themselves.

Much of it is effective and affecting. The smooth vocalism makes for a rewarding ‘Lindenbaum’, while the sheer vocal riches help convey an imposing whiskery gravitas in ‘Der greise Kopf’ and ‘Der Wegweiser’. But elsewhere the performance feels short on detail and variety: ‘Mut’ is too easy-going, ‘Die Krähe’ sounds earthbound, and I’d like to hear more variety of tone and mood in ‘Frühlingstraum’ and ‘Letzte Hoffnung’. Asti’s playing adds to this impression: the pianist is a model of discretion but somewhat reticent and unwilling to seek out the drama in the songs, or indeed to use his instrument to match the grandeur of Rutherford’s singing.

This is nevertheless an enjoyable, admirable Winterreise – and beautifully recorded, too – but look elsewhere if you’re after a performance to plumb the cycle’s emotional depths.