With all the atmosphere of an IKEA warehouse but without the new furnishings, the Queen Elizabeth Hall is hardly likely to take over from the Wigmore as the singer's venue of choice. But it is just about big enough to house operatically scaled voices that in the Wigmore would be shaking the shutters.

One such voice is Amanda Roocroft's luscious soprano, here at its best in the six Op 37 songs by Strauss that opened the second half of the programme. Roocroft spun out sumptuous lines, occasionally disturbed by a thin high note, but always intelligently shaped and engaging; she has a wholehearted sincerity to her singing.

She had begun with Debussy's six Ariettes Oubliées, singing in slightly cloudy French, smiling graciously as some overenthusiastic applauders shattered the atmosphere between the first two songs; perhaps it wasn't surprising that she didn't quite capture their sense of intimacy. She is demonstrably capable of sensuously expressive touches, and she could use them more often in this repertoire. But her vocal reserves served her well in the long, ultimately brutal crescendo of the final song, Spleen.

For her final numbers she chose Britten's Four Cabaret Songs, always hard to bring off. Though she brought some charm to Tell Me the Truth About Love, this song can never be quite as funny as it thinks it is, and Britten's melodramatic take on Auden's Funeral Blues suggests that the young composer hadn't yet experienced the kind of loss the poet was writing about. But her two encores, by Strauss and Liszt, first animated and then beautifully simple, were a truly stylish way to finish.

Of course, she wasn't alone. Providing an irresistible dynamo for the merry-go-round in Debussy's Chevaux de Bois, tracing the twisting undercurrent to Roocroft's smooth lullaby in Strauss's Meinem Kinde, making the thickly scored accompaniments to four other songs by Liszt sound easy: again and again, Malcolm Martineau showed that he is the classiest accompanist around.