Rustem Hayroudinoff, Wigmore Hall, Thursday 21 December

Rustem Hayroudinoff is one of those musicians who knock the spots off overhyped oriental kiddies and wolf-keeping Europeans in terms of genuine artistry, but have had to struggle for much too long to achieve the recognition they deserve.

But at last I get the feeling that his boat is in sight of the shore: his latest recording for Chandos, Rachmaninov's Etudes Tableaux, is the instrumental Pick of the Month in the newest BBC Music Magazine and he'll be playing Rachmaninov's Third Concerto with the London Philharmonic on 14 January (Eastbourne, 3pm).

A big Russian-school technique - rich, glowing tone, layered voicing and spacious phrasing - plus an artistic awareness that encompasses painting, literature, cinema, jazz (which he plays jolly well), terrific intelligence and a great sense of humour, all add up to fresh, heady and colourful artistic results. Rustem is a Tatar from Kazan, trained in Moscow and London, where he now lives, and is the most vivid raconteur I know. Tomorrow (Monday) he's on BBC Radio 3's In Tune programme around 6.15pm. (Along with Juan Diego Florez!! no kidding.)

On Thursday next week he's giving a Wigmore Hall recital. Do come and hear him if you're in London.

Bach English Suite No. 3 in G minor

Debussy Suite Bergamasque

Shostakovich Preludes and Fugues op. 87

No. 2 in A minor

No. 4 in E minor

No. 15 in D flat major

Chopin Mazurkas:

Op.56 No. 2 in C

Op.17 No .4 in A minor

Op.63 No. 3 in C# minor

Scherzo No. 3 op. 39

Prokofiev Sonata No.7 op. 83

Tickets: £22 £18 £14 £10

Wigmore Hall box office: 020 7935 2141

or online booking at www.wigmore-hall.org.uk/concerts/booking.cfm

These two...

... are at it again. Walking out of things. Yes, it's the Alagna & Gheorghiu Show (or no show). Read the Alagna files in detail c/o Milan-based Operachic here.

As far as surreal interviews go, my encounter with them several years back, pre-blog, probably takes the biscuit. Briefly, this is what happened:

7am train to Paris, with photographer, make-up artist and hairdresser. Taxi to posh hotel. A&G 45 mins late. We are all confined to a suite together. G's hair takes 2 hours. I interview A in hotel bar. He turns on charm, full of enthusiasm and ideas. When tape recorder switches off, so does he. We return to suite, where A sits on the sofa beside me but does not acknowledge my continued existence and responds monosyllabically to my attempts at chit-chat, preferring to talk in rapid French to the attending record company executive. G, still having her hair done, talks in rapid Romanian to her PA. I read a book. The TV is on, without the sound, showing female sumo wrestling. A&G don't appear to exchange so much as a look, let alone a word. Hairdresser finishes, photographer moves in to snap cover shot for Valentine's Day special and suddenly the stars turn on the twinkle and are all over each other. When photographer switches off, so do they. I interview G in hotel bar. She seems extraordinarily defensive, but at least remains consistent pre-, during- and post-interview. Sundown. Record company exec buys us a drink and I have civilised conversation with G. A continues to ignore everyone but self and record co exec. I bundle into taxi to Gare du Nord with photographer, hairdresser and make-up artist. On train they open a bottle of wine and let rip. Fast-forward a few months and A&G look stunning on cover of Valentine's Day/February edition. My article begins with the words: 'Paris: city of love...'

Him again...

Still walking on air after my interview with Signor King of the High Cs yesterday. Just to preserve the nautical imagery: what a dreamboat!

(No wonder my husband wants me to believe that the world's best and loveliest tenor is Wunderlich, who's dead...)

On the other hand...

Tom pricked my Florez bubble yesterday evening, by a) assembling a group of friends to play the Schumann Piano Quintet in our front room (they made music and I made the food), and b) over dinner afterwards, saying 'Florez isn't a patch on this...' and putting on a CD of Fritz Wunderlich.

There are performances - like Florez's - which leave you clapping and cheering and full of superlatives. There are others which leave you speechless.

King of the high Cs? Better believe it...

I'm high as a kite. Universal Classics held a little 'do' today for one of their best and starriest stars: Juan Diego Florez (above, photo credit: Decca / Johannes Ifkovits). Savoy Hotel; a collection of press & industry colleagues; and he sang three arias - the big whacks from Rigoletto and La fille du regiment (the one with nine high Cs) plus 'Granada' from his Sentimento Latino album, and I was standing 4 metres from him throughout. I nearly died of joy.

It's unbelievable. The security of that technique is, as far as I can tell, more comparable to Jascha Heifetz than any other singer I can think of. There's no shadow of doubt, but also no flaw in the pouring of the honey, just utter beauty and wonder and a hell of a lot of oomph, at least close to. Florez's voice is sometimes said to be 'small' or, better, 'small is beautiful', but it certainly didn't sound that way (beautiful, yes; small, no!) from 4 metres... It was hard to get the press & industry to stop applauding afterwards, and that takes a little doing.

I shook his hand afterwards. Yes, alas, I have washed since. But tomorrow I get to interview him (at least, 98% sure that I will), so maybe I can replenish that supply of wonder. And yes, he's drop-dead gorgeous - but with a voice like that, who even needs those sultry eyes?

He opens in La fille du regiment at Covent Garden in January.