After his rather awkward foray into the late-19th century art-song repertoire linked to ideas of female androgynes, French countertenor Philippe Jaroussky has returned to 18th-century music, where he seems most at home. With Concerto Cologne, directed from the harpsichord by Nicolau de Figueiredo, he tackled his "London programme", consisting of arias by Handel and Johann Christian Bach, Johann Sebastian's youngest son, who made his home here in 1762. It was quite a night.

Jaroussky's voice is remarkable, both for its cool sweetness of tone and for the fact that it is placed fractionally higher than that of most countertenors, giving him extraordinary ease and flexibility in his upper registers. The relaxed grace of his coloratura was much in evidence in Ruggiero's Sta nell'Ircana from Handel's Alcina, where his voice just seemed to flow in warm profusion. Extracts from JC Bach's Adriano in Siria and Carrataco allowed us to hear his trademark soft singing at its finest, with the vocal line hovering in the air and time almost standing still.

Sometimes he took risks that he didn't quite get away with: the immense span of an aria from JC Bach's Artaserse brought with it discomfort in his lower registers, and the elaborate decorations he used in Scherza Infida from Handel's Ariodante detracted on occasion from the music's mood of gnawing grief. But he is a beguiling artist and very much a star. Concerto Cologne, meanwhile, were superb throughout. Unlike most recitals, the orchestral works separating the arias didn't feel like padding. Handel's Water Music was done with infinite charm, while De Figueiredo was the soloist in an emotionally wrought performance of JC Bach's Harpsichord Concerto in F Minor.