Sarah Connolly will probably win many hearts with this stellar album of English songs, My True Love Hath My Heart, and the same could be said for her accompanist Malcolm Martineau, who is a fabulous interpreter as well. Connolly's technique is seemingly flawless, and her mezzo-soprano is clean, crisp, and bright, yet full. Add to this excellent diction, and the results are interpretations that may well be definitive for years to come. British greats like Benjamin Britten are featured, and the four songs chosen here are probably familiar to many listeners. Early one morning sounds the most archaic in its character, as if influenced by Handel or the Baroque period. The sound quality of the recording on this first cycle is a bit too soft compared to the other tracks, which detracts from the listening experience. Herbert Howells appears twice with two sets of songs. King David is interpreted with an appropriately majestic piano that rolls the chords, and the Gavotte has graceful, nuanced, well-phrased lines, and a piano part that sets the mood for a courtly dance. Come sing and dance reveals a central strength of the recital, which is that Connolly's interpretations are operatic without going over the top; she knows when to sing out, as on the melismas, and when to use more restraint. John Ireland's songs are arguably the most exciting of the older pieces on the album (Richard Rodney Bennett's are from the late 20th century, and in 2011 he is the only composer is still living.) In Her song, which has a 1920s Austro-Germanic popular feel, and in Tryst, Connolly captures the mood of anticipation for a loved one. Michael (Dewar) Head is represented by two songs, and he gives singer and pianist a chance to show off their best, such as Connolly's canny emphasis of the right words in Foxgloves and Martineau's communicative piano interludes in Cotswold Love. A History of the Thé Dansant by Bennett is very different in character, as it was written in 1995, yet it fits well with the repertoire of the recording. One hears jazzy syncopations and wonderful rubato, such as in Tango, where Martineau plays out and takes center stage for a moment. This is a fantastic album, reflecting the mezzo-soprano's wise choice of repertoire that suits her voice perfectly.