Her tone has deepened . . . as has her expressivity . . . here she shows refreshing commitment and spontaneity. The clarity and roundness of her upper range also distinguish her. She is at her best in sustained arias by Gounod and Tchaikovsky . . . She offers a particularly impassioned account of “O ma lyre immortelle” from “Sapho” — the title character’s final aria before her suicide. “Farewell you native hills and fields” from “The Maid of Orleans” shows her as a compellingly conflicted Joan of Arc.