DRAMA QUEENS is an ace of an evening for any venue! Indeed, the experience enters my own personal treasure chest of extraordinary performances in past decades, with names such as Schwarzkopf, Fischer-Dieskau, Vickers, Nilsson and Callas topping the list.

Success truly lies in the mix of all those artistic qualities required to serve the music and compel an audience to hang on every note and word in a programme. Joyce DiDonato's charmingly unaffected - and therefore affecting - stage manner won the hearts of this Theater an der Wien audience from the moment BEFORE she began singing with her response to a ringing mobile phone somewhere in the Gallery. SHE answered "Hello" from the stage and two seconds later added, "Auf Wiedersehen" - with a chuckle!

In this programme with Il complesso barocco and their leader, Dmitry Sinkovsky, the America mezzo instills life into works by composers such as Giacomelli, Orlandini, and Porta (not exactly household names, but fortunately generally accessible on the DRAMA QUEENS compact disc, and online) in addition to arias by Cesti, Monteverdi and Handel.

The programme did include some familiar pieces such as "Disprezzata regina" (Monteverdi's L'incoronazione di Poppea) and Cleopatra's "Piangero la sorte mia" from Handel's Giulio Cesare in Egitto - an interesting pendant to Johann Adolf Hasse's "Morte col fiero aspetto" (Antonio e Cleopatra) which preceded it in the programme. A highlight among several encores (which were, in part, repeats from the listed programme) was the poignant "Lasciami piangere" from Reinhard Keiser's Fredegunda.

DiDonato's use of consonants and the venom expressed through clenched teeth remind at times of Callas. The flawless scale work (in full parade in Handel's "Brilla nell'alma" from Alessandro), artistic imagination, and a dauntless approach - whether in dramatic attack or finely-spun pianissimi - all ring true (rather than designed for effect), and make for a rare musical experience. Whether in a state of lament or calling for blood, these characters are truly credible.

The intimate rapport between the instrumentalists and singer was clear throughout with some electrifying virtuoso solo work by Sinkovsky, and whose ensemble fully complimented the star vocalist. This is how to perform Baroque music.

At the encores, DiDonato thanked the audience for their enthusiasm and seemed genuinely taken aback by the tumultuous reception. This was apparently the sixth repeat of DRAMA QUEENS within eight days - in itself an amazing feat. The reception resembled a World Cup soccer event with foot stamping spreading like wildfire after the second item on the programme, and a standing ovation for the encores.

Not to be missed at any cost!