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The dreamy reverie of that signature song, so evocative of a more innocent age, is matched here by the carefree rustic knowingness of Reuben Ranzo, the Four Old English Songs (a varied quartet of settings of Shakespeare), the affecting melancholia of The Green Hills of Somerset and the exquisite four-part song cycle The Mill o’ Dreams. Coates belongs to an era of gentler music-making but a no less passionate and emotional one, as Rudge’s ardent singing of Sea Rapture, her beseeching approach to I Pitch My Lonely Caravan and honeyed take on The Fairy Tales of Ireland eloquently testifies to. Kathryn Rudge has been described as “one of Britain’s brightest young mezzos” (What’s on Stage) with her voice lauded for its “tremendous reserves of power, impeccable intonation, the capacity for a gloriously sustained legato and, most interesting of all, a distinctive vocal quality” (The Times). Christopher Glynn is fast emerging as one of the most exciting young accompanists of the day. Opera News has described him as “an exemplary partner, by turns impossibly delicate, colourfully nimble and thunderously firm”, while the Birmingham Post praised his partnering in concert of fellow SOMM artist Roderick Williams for its “reassuring authority and empathy”.