Janyce Condon is a young Irish soprano studying in Barcelona. She opened her short lunchtime programme last Wednesday with delightful performances of Schumann's Widmung and Strauss's Allerseelen, songs whose poetic sentiments benefited from her forward placing of the mid-tones and her crystal-clear enunciation of the German texts. She was equally convincing in Grieg's I Love You, although I'm not sure why she sang it, too, in German.

This bright projection of the middle register was an asset in the recitative before Susanna's Deh Vieni from Mozart's The Marriage Of Figaro. Although sung with glowing tone, the aria wanted just a little more dallying on those long phrases that depict the character's ardour.

There was plenty of ardour in Song To The Moon from Dvorβk's Rusalka. But here, and in Liu's Signore Ascolta from Puccini's Turandot, there was a noticeable discrepancy between the easy delivery of the cleanly focused middle register and the pushing of tone onto notes above the stave. And the climax of the Turandot aria would have been more effective if floated rather than squeezed out in full voice.

In Norina's cavatina from Don Pasquale, she negotiated the rapid passages with admirable lightness, but the constant interplay between what was now three methods of delivery gave the impression that several singers were tossing the phrases between them.

Andrew Synnott was a strong partner whose piano accompaniments provided the correct blend of good articulation and weighty tone.