Julius Drake is one of the most sought-after pianists by UK singers, and the Temple Song series has his bulging contacts book to thank for a roster of programmes that would be highlights at the Wigmore Hall. One such chance would be to hear Mark Padmore, one of the finest Schubert singers around, traverse the 20 songs of love and loss that make up Die Schöne Müllerin.

However, the equally rarefied Middle Temple Hall, with its stained-glass coats of arms, louring portraits, and suits of armour, is a very different venue from the Wigmore - atmospheric, certainly, but with a churchy acoustic in which detail can easily get lost.

Padmore and Drake were able largely to overcome this, but they didn't make things easy for themselves. Performing on one side of the hall rather than at its end meant that more of the audience were closer to Padmore; it also meant he had to turn from side to side to maintain eye contact, but the sound was always clearest when he was facing your way.

Yet the care that went into the balance between voice and piano was paramount. It was most noticeable in Impatience, where Drake's fast, repeated piano chords were kept unusually light and distinct. In the final Lullaby, Padmore spun arching, airy lines while taking care to give every syllable its due weight.

Padmore's miller boy is less the naive dreamer than a cocky labourer, surprised more by the intensity of his first love than by the angry jealousy that ensues. And yet with the song Pause, he and Drake slowed the pace down to one of real contemplation. It made the song a moment of self-knowledge, the fulcrum of an intelligent and moving interpretation.

· Series continues on May 10. Box office: 0845 120 7543