Dorothea Röschmann's concert with pianist Graham Johnson closed, unusually, with a performance of Manuel de Falla's Seven Popular Spanish Songs. Her decision to tackle them marked a new departure for a singer whose recital repertoire has largely been confined to Austro-German lieder. She brought to them the sensuousness and verbal subtlety that characterises her singing at its best. But, more than anything else in this exceptionally beautiful recital, they also revealed the extent of her development as a performer.

That Röschmann's voice has grown in amplitude with time is only part of the story. The perfection of her soft singing is unchanged and rarely surpassed, as the hovering Asturiana proved. The differences lie in her deployment of a greater dynamic range, and in a new-found warmth in her lower registers. She used the latter sparingly and tellingly to underpin the ironic repetitions of the word "Madre" in the Jota, before unleashing a sequence of almost savage sounds in the closing Polo, which culminated in a glorious, angry blaze of fire in the top of her voice.

Elsewhere, we were in more familiar Röschmann territory. She has sung Schumann's Frauenliebe und Leben many times before, though rarely with the intensity she brought to it on this occasion. It's easy nowadays to condemn the cycle as sexist, but she presents a psychological portrait of such immediate veracity that such qualms simply vanish. She also offered us some very sensual Brahms, and a clutch of songs, by turns rapturous and sardonic, from Wolf's Italienisches Liederbuch. Johnson, as if in thrall to the singer, was the perfect foil for her restrained yet often devastating emotionalism.