The recital given last Monday night by Doreen Curran in the National Concert Hall's John Field Room embraced a wide range of compositional styles. In 19 songs by Pergolesi, Handel, Schubert, Brahms, Strauss, Rossini, Tchaikovsky and Bizet, a musicianly and thoughtful approach was always evident. Yet the singing style showed little differentiation between, for example, solemn Pergolesi ("Fac ut portem" from the Stabat mater) and solemn Strauss (Ruhe, meine Seele), written over 150 years later.

There was a niggling impression that the programme had been assembled as a vehicle for the singer. And that impression was reinforced by the absence of programme notes and translations.

That said, there was much to praise. Doreen Curran had presence; her sound was pleasing, even though open vowels lacked variety. She showed an excellent sense of timing and phrasing, better than many singers with far more experience than she has; she could energetically drive a line, or make it linger; and she knew how to use colour.

Mairead Hurley was an unapologetic and faithful pianist. It was a pleasure to hear her bend unerringly with the inflexions of the vocal line. Progress through successive verses of Schubert's Wiegenlied was beautifully conveyed. The calculating expression of Strauss's Begegnung was done to a tee. And in the Habanera from Carmen, Doreen Curran really played the part.