The American mezzo soprano Jennifer Larmore has been an attention-getting presence on the international operatic scene ever since her 1986 debut as Sesto in Mozart’s “La Clemenza di Tito” in France. The French government, in fact, awarded her its highest cultural honor, the Chevalier des Arts et des Lettres in 2002.

This season at the Metropolitan Opera she has been receiving most favorable mentions for her portrayal of Elizabeth Griffiths in Tobias Picker’s “An American Tragedy.” While her repertoire is wide-ranging and she has proven herself adept at any style into which she has ventured, her bel canto style efforts have been particularly distinguished, and are so exciting that her every aria is greeted with thunderous applause and emotionally discharged cries of “Brava Diva!”

Her recent release “Bravura Diva” on the Opera Rara label has been giving vocal fans around the globe cause to hit replay over and over. The disc contains arias from operas which, given this class of treatment, should promptly move from the “little known” to the “unjustly neglected” category.

Even if you have previously heard arias from Mercadante’s “Andronico,” Rossi’s “Amelia” and Pacini’s “Carlo di Borgogna,” you will not likely have heard them executed with Larmore’s thrilling virtuosity. Larmore’s technique is so solid and secure that she can breeze through the most complex passagework . . . tossing off precise trills, singing rapid-fire coloratura with pinpoint accuracy, taking large leaps . . . without sacrificing anything of her musical vision for the aria as a whole. The dazzling technique is entirely at the service of the music; neither do any deficiencies call attention to themselves nor does the technique call attention to itself qua technique.