The Lower Machen festival ended its 40th- anniversary celebration with a recital by soprano Rebecca Evans and pianist Michael Pollock, as accomplished a partnership as could be.

Evans proved her instinct for Mozart in an extended group of songs. Un Moto di Gioia, a substitute aria for Susanna in Le Nozze di Figaro, showed her lovely vocal agility; in Als Luise die Briefe, she conveyed the dramatic core, while preserving the integrity of musical line. As she approaches the transition from Susanna to the Countess on stage, it was instructive to hear the profound melancholy contained in Sei du Mein Trost. Four songs by Clara Schumann followed, the essential purity of tone still there.

With a recital as astutely structured as this, balancing historical periods, emotions, countries and character, it was precisely Evans' capacity to colour her sound to fit the composer that was so satisfying. So Obradors' Del Cabello Más Sutil had a most seductive feel, and Evans brought a touch of theatre to his Chiquitita la Novia, walking the length of the aisle with just the right degree of flamenco flamboyance. It set the seal on a fine first half, but Evans knew better than to repeat the gesture.

Nevertheless, she and Pollock, playing with his usual finesse, offered an equally absorbing second half, with French songs by Gounod, Hahn, Saint-Saëns and Ravel capturing a nicely smoky quality. Ever versatile, Evans ended with Gershwin and three of Wendy's songs from Peter Pan, winningly sung. There are those for whom Evans can never quite match the great Margaret Price in recital, yet the very comparison does her huge credit.