This Latvian mezzo is touted as one of the hottest “new” singers on the opera circuit — based in Vienna, she has sung leading Mozart roles at the Salzburg and Aix festivals — but her first solo album is a bitter disappointment. Enterprisingly, she combines familiar operatic solos with “concert” arias, offering the early, rarely recorded Misero Pargoletto and two of Don Ramiro’s arias from La finta giardiniera. A noted Dorabella in Così fan tutte, she includes her Act I aria and, like Teresa Berganza before her, Fiordiligi’s even more demanding Come scoglio. She has the vocal range and a fine instrument, but her aggressive manner and muddy Italian diction are less satisfying than Berganza — and several of Garanca’s contemporaries — in this music. Two stars