One could have nothing but admiration for young, talented people who work hard and whose talent – combined with the right attitude and training they get from their teachers – produces the desired salutary results. It is the case with the two young singers I recently heard at the Music Room of St James Cavalier, accompanied at the piano by Louise Zammit.

I had heard soprano Kimberley Marie Grech when she was much younger and singing solo. I had also heard baritone David Debono singing solo, perhaps when he was a bit older.

Since then, both have made enormous strides forward. Grech has blossomed into a confident, young woman with a really lovely voice. Debono has been busy heeding sensible advice to polish up his act, and has proved it very clearly.

This does not mean that there is no room for improvement in either singer. As far as I know, they never sang together before, and, if so, all the more credit to them because they hit it off well and good.

As far as I know, they never sang together before, and, if so, all the more credit to them

Their approach was also nicely casual, in the sense that they took turns, pianist included, to introduce various works on the programme.

This began with Debono’s light and suave baritone, rendering justice to Schubert’s Lied Nacht und Träume. The music and lyrics flowed with relaxing ease, clearly with very good diction.

Grech’s German diction may need more working at, but her voice left nothing to be desired in another Schubert lied, Auf dem Wasser zu singen. The delivery was simply straightforward and very charming.

This was followed by a duet from Mozart’s Le Nozze di Figaro, which was performed very much in good style and in very clear Italian by both, even if the baritone’s voice needs to be a little more assertive.

This was achieved when the duet was given an encore at the end of the concert.

Meanwhile, both singers were on best of forms, with Debono being really in his element in Mozart’s well-known aria, sung by Papageno, Ein Mädchen oder Weibchen, from Die Zauberflöte.

Grech then returned with Batti, Batti bel Masetto from Mozart’s Don Giovanni. My only remark here is that it would have been nigh perfect had the coda not been taken a little bit too fast.

Zammit who, in the meantime, proved to be a constantly stalwart element as accompanist, performed the two contrasting Novellettes 1 and 2 from the set of three by Poulenc.

In the tongue-twister Donne Mie le Fate a Tanti, from Mozart’s Così fan Tutte, Debono was at it again, nonchalantly gushing forth his tirade with exasperatedly humorous precision, and with none of the stiffness of concentration.

Grech returned with Offenbach’s Elle Fui la Tourtourelle from Les Contes d’Hoffmann; this was sung pretty clearly and, like the next three pieces, had a rather special, heartfelt touch. Fauré’s solo piano piece, Barcarolle in A Minor, Op. 26, No. 1, had its own special, lilting magic.

There was much that was magical with most of Schubert’s famous Ständchen, which was sung by Debono. There was a slightly indecisive bar or two at the beginning, but then it all flowed easily and in good shape, except for some slight thinness in the top register; a moment of distraction, perhaps?

Grech concluded the concert with a sprightly and well-delivered Quando m’en vo’ from Puccini’s La Bohème.