They are bent on making a star out of Isabel Leonard, and they shouldn’t have to try too hard. This singer has pretty much all the assets. And she treated New York to a thoroughly enjoyable recital on Friday night in Weill Recital Hall.

She herself is from New York, and a recent graduate of the Juilliard School. At the beginning of this season, she made her Metropolitan Opera debut in the small but rewarding role of Stéphano in Gounod’s “Roméo et Juliette.” And her schedule, both on the recital stage and in the opera house, is full.

Ms. Leonard can well and truly sing. But what is she? A soprano or a mezzo-soprano? Friday night’s program booklet did not specify, and neither does her official bio. In her professional engagements, she has both soprano and mezzosoprano parts. She is a tweener — which is a very fine thing to be.

In Weill Recital Hall, she started with three songs by Joaquín Nin. She showed a rich, attractive voice, and she sang cleanly. Her pitch would be secure all night (with a minor exception or two). And her voice was best when she sat on a note, letting her sound spin. In other words, her voice was best in release (and it did not always release).

She sang her Nin songs with a sense of romance, and her Spanish was a pleasure: native. According to published reports, her mother is from Argentina.

Ms. Leonard then went to Wolf, six songs from “The Italian Songbook.” She sang these with character and correctness. On soft notes, she has an admirable ability to hold steady; her sound doesn’t sag. And I like what she did with “Wir haben beide lange Zeit geschwiegen,” one of the great, ineffable songs. She did not try to do too much with it: She merely sang it.

It should be noted that Ms. Leonard does a lot of acting in a recital. “Show it on the face,” they say. A few of us cringe at this instruction. And Ms. Leonard “showed it” on more than her face — she used her whole body. Many songs seemed little opera scenes. But a lot of people like this, quite a lot.

Moving to the French language, Ms. Leonard did three beloved songs of Reynaldo Hahn, in which she was fresh as a daisy. She was confident, fearless. She has everything to be confident about, and nothing to fear. “Fêtes galantes” was stylish without being the least cutesy — that is an achievement.

And she ended the first half of her program with a much-heard set of Falla: the “Seven Popular Spanish Songs.” Here, she was sufficiently flavorful, but never vulgar. In “Asturiana,” Ms. Leonard was beautifully and movingly plangent. Her “Jota” was a little unusual — unusual interpretively. But persuasive.

Opening her second half, she sang four favorite songs by Rachmaninoff. And she sang them sensitively, soaringly, and soulfully. In one of them, she gave us a very soprano-like high A, and a very mezzo-like low B. This reinforced the question, “What is she?”

“In the Silence of the Secret Night” has one of the most beautiful closing lines in all of songdom. It is a long line, and some of us prefer it in one breath. Ms. Leonard sang it in two — but didn’t spoil anything. And she was impressively big in “These Summer Nights.” Her voice is not just attractive but formidable. It has a measure of steel in it.

Ms. Leonard then gave us three cabaret songs of Schoenberg, in which her acting and general stage demeanor were delightful. She sang the songs delightfully, too — including the one about the heart that goes “boom, boom, boom.” We want these songs to be fun without being hammy. And so they were.

And consider one detail from Schoenberg’s “Galathea.” It is not so much a fun song as a dreamy one. And the final word is “Phantasie” — which Ms. Leonard curled out beguilingly, intoxicatingly.

To close her printed program, she turned to the Great American Songbook: Gershwin, Kern, Porter, Rodgers, and Meredith Willson. She was clear, direct, and totally appealing. “I Concentrate on You” was exquisite. “Our Love Is Here to Stay” was both elegant and sensual (not easy). And, with apologies to Shirley Jones, I don’t think I’ve ever heard a better “Till There Was You.”

The audience wanted encores, and it got two. The first was the zarzuela number “De España vengo,” with which Victoria de los Angeles used to slay us. Ms. Leonard can be just a little bit hard, vocally. But she was endearing nonetheless. And she bade good night with her Stéphano aria: “Que fais-tu, blanche tourterelle.” In this, she was a model of assurance.

Is there a more satisfying musical event than a good voice recital with a varied program? And, about Isabel Leonard, you are tempted to say that a star is born — but the starriness of this singer has been apparent for some time now.

And, hewing to the ancient tradition of mentioning the accompanist in the last line, I will say that Brian Zeger performed with true professionalism, as usual.