The exhibition of European landscapes by the little-known artist Thomas Fearnley (British in name though Norwegian by birth) now on view in the Blue Gallery is not to be missed. Neither was this recital by soprano Malin Christensson and baritone Christopher Maltman, which consisted of songs from the countries Fearnley visited and painted.

Apart from Norway itself, generously represented by Grieg (actually born a year after Fearnley's death), the programme also covered the artist's travels in Italy and Germany with Italian songs by German composers - Schubert and Wolf - and a miscellaneous set by Purcell, Delius, Vaughan Williams and Quilter that reflected Fearnley's English ancestry.

So - a tidy and logical collection, impeccably delivered by each singer and their pianist Joseph Middleton, whose delicacy of touch and tonal elegance was at all times perfectly judged. And, although the subject matter rarely strayed from romantic love, the treatment and expressive range was remarkably varied.

Maltman's Grieg selection, for example, encompassed laddish humour ('The way of the world') and lyrical serenading ('Silent nightingale'), while in Schubert's Drei Gesänge, D.902 he demonstrated a wonderfully Italianate approach, almost wandering into Donizetti territory with a tour de force account of 'Il modo di prender moglie.'

Not surprisingly, perhaps, Christensson's offerings showed greater decorum. Even so, she imbued Grieg's Solveigs sang and Schubert's Mio ben with considerable emotional depth, and brought a waspish sense of humour to Wolf's Wer rief dich denn?

Of course, some of the 28 individual songs refused to linger in the memory - including, it must be said, most of the English ones.

On the other hand Mozarts' 'La ci darem la mano,' given as an encore, showed these two superb artists in all their operatic finery. We could have done with more.