Juan Diego Flórez's reputation rests primarily on virtuosity and charm, two things he does uncommonly well. Of late, however, he seems to have been expanding his range. His recording of the Paris version of Gluck's Orphée revealed a talent for tragic intensity new to his work. This is not to say that his charm and virtuosity have abated. Big arias from Rossini's Otello and Boieldieu's La Dame Blanche were full of the bounding vocal athleticism that takes your breath away. He delivered Rossini's L'Orgia –"about drink, not sex" – with a cute, impish grin.

Yet his programme wasn't built solely round showpieces, and his charm now spills towards a moodier Romanticism. The tragic quality of his Gluck was present in a powerhouse performance of Adiós, Granada from Emigrantes by Rafael Calleja and Tomás Barrera. Pourquoi Me Reveiller from Massenet's Werther was suitably brooding, while Gounod's Romeo, dreaming about Juliet in Ah! Lève-toi Soleil, was as ravishing as one could have wished.

Not all of it was plain sailing. The main programme was short, though the encores were generous. Flórez's voice often takes a while to warm up in recital, and there were slips in intonation in the opening aria from Cimarosa's Il Matrimonio Segreto and the selection of Rossini's songs that followed. After that we got the best of him, however, and his expanded repertoire has once more enabled him to take us by surprise.