A fine and fun Christmas album from the opera star, and as you can expect, quite daring at times too. It's always fascinating to hear Brueggergosman step out of the classical school, as she has a fondness and knowledge of popular forms as well, and loves to shake things up. Here, she and producer Michael Phillip Wojewoda, a rock fellow, mess around with some favourites, giving us a much better collection than your standard holiday set. Wojewoda uses beats and percussion, dropping in strong new rhythms and effects to give even the oldest carols a new twist. Meanwhile, veteran jazz pianist Aaron Davis arranged the songs with Brueggergosman, and the imaginative new versions provide more highlights.

For the most part, you know the material, but not this way. There's a soulful break right in the middle of It's the Most Wonderful Time of the Year. Sleigh Ride has a funky pace, while Do You Hear What I Hear? is an interesting mix of modern and traditional. There are plenty of beats laid on it, yet Measha sings with her big opera voice. Little Drummer Boy is a real tour-de-force, a brand-new vision of the song, with lots of horns and martial drums, taking it down to New Orleans.

In the centre of the disc come two wonderful new gems. The first is a song written by Royal Wood and Brueggergosman, with the Canadian performer joining for a duet. Let Joy Reign is a ballad of hope, and the mix of their pop and opera voices works well here, as she's able to hold back and Wood has a fine range and pitch, keeping up with his host. Next comes If You Can Dig It, co-written by Measha and Davis, full of lots of 70's soul moments, from the electric piano to the rich bass line, and Curtis Mayfield mystery. "You're the rum in my eggnog," indeed.

After those modern numbers, Brueggergosman heads the opposite direction, going really old-school with carols closer to opera, including a French version of O Holy Night, along with the choral arrangement of the Banff Voices. Then comes my favourite of the whole set, an inspired medley of two of the best-known songs of the season, so good I can't believe no-one has thought of it before. It's a mix of White Christmas and Blue Christmas, done Elvis style, right down to a rockabilly guitar solo. It's seamless, and finishes off with some hand claps, laughing and chatter, like the Elvis Comeback Special. The one song here that falls flat closes the album, yet another unnecessary version of Joni Mitchell's River, which has become the Hallelujah of Christmas songs. Brueggergosman tries it as an extended moan, slow and sombre. Some might like it, but it seems out of place here, the rest of the collection so full of high moments. With her buddy David Myles about to release his Christmas album, and Blue Rodeo chiming in with theirs, it should be one of the best years for new holiday sets in a long time.