Most interesting are two less familiar works, solo cantatas In Turbato Mare Irato and Sum in Medio Tempestatum. Both dramatise the Christian believer vividly, tossed on a sea of semiquaver doubt. Genaux’s coloratura has lost none of its clarity, cutting crisply through Dubrovsky’s characterful string texture, charged with electric energy, tone fizzing with interest.

But she’s almost more impressive when the showmanship stops. The massive seven-minute Semper maesta, sconsolata from Sum in Medio is one simple, unbroken line of melody. Genaux toys with her listener, fluttering trills with butterfly lightness, and compressing all her dark, exciting sound into the narrowest of compasses. The effect, mirrored in the Cum dederit of the Nisi Dominus and elsewhere, is magical.

The Wiener Kammerchor provide efficient support in the choral numbers, notably the Crucifixus from the Credo in E Minor, which is exquisitely eerie and unsettling.