The distinguished German lyric tenor Christoph Prégardien’s Wigmore recital consisted of what is usually considered to be the greatest of all song-cycles – Schubert’s Winterreise – with one of his regular collaborators, Michael Gees, at the piano.

Over its unbroken course, Schubert’s setting of 24 poems by Wilhelm Müller depicts a young man whose response to emotional rejection is to set off alone and without any aim in view. The result is a true winter’s journey in a psychological as well as a literal sense, the piece’s trajectory drawing the listener ever deeper into a territory of inner darkness and despair. In a great performance, the result can be shattering.

Prégardien’s presentation of this ultimate challenge of the Lieder repertory had many positive aspects, but it was hard not to feel that, in some respects, his voice is now too mature for the piece (he turns 60 next year), and that its diminished range – not only in terms of colour and dynamics, but also in compass – makes it a less than ideal instrument for its realisation. His high notes were dull in tone and frequently attenuated.

Yet Prégardien retains many virtues as an interpreter. His diction was clear and considered, his musicianship comprehensively fine and his platform manner dignified and unshowy. His expressive purpose remains commendably thought-through, even if the means to do it justice are somewhat less complete than they once were.

Gees dovetailed his playing expertly with Prégardien’s singing, always supporting him and never overshadowing him. At times, he offered a larger tone than usually exhibited in this music, and once or twice it registered as brash, but there were many interesting and individual interpretative touches in his work – as well as in that of his tenor colleague.