In a supposedly post-feminist age, it is hard to stifle a chuckle (or a grimace) at the sentiments expressed in the poetry to which much of the romantic lieder repertoire for female voice is set. Many of the texts in the first half of this recital were no exception, and it is to Angelika Kirchschlager's credit that she could make an audience armed with translations believe fully in these wonderful settings. Of the five Schubert songs that opened the recital, only Vom Mitleiden Maria avoided the scene of submissive love. Back on the usual subject, Gretchen am Spinnrade found Kirchschlager and her accompanist Helmut Deutsch recreating vividly the tension and unrest that plagues the narrator.

Kirchschlager's rich tone, polished and even, suited Schumann's cycle Frauenliebe und-leben well. The central song, Süsser Freund, was poised and radiant; while she may not have the lightness of touch and variety of expression that, say, Anne-Sophie von Otter can bring to the song, her nuances of colour are thoughtful and can be really special. A tendency to sing just under the note was Kirchschlager's only real weakness. Ensemble between singer and accompanist was always tight, but, as was the case throughout the recital, a little more presence from Deutsch was needed.

Alma Mahler suffered the sharp end of these 19th century fantasies about a woman's calling. The five songs Kirchschlager chose spring from the old lieder tradition, but seemed to occupy a different sound world, darkly chromatic, both evocative and inventive.