It’s no secret that funding uncertainty has impacted the scale of this year’s EIF programme, which is surely no small part of the reason two of this year’s operatic highlights are in concert, rather than staged form. Operas in concert often invite a deeper intimacy with the music though, and this performance of Mozart’s final opera, La Clemenza di Tito, was a perfect example.

The lack of staging didn’t lessen the drama, as each of the cast acted as well as sang their role with passion and precision. A particular highlight was Angela Brower’s performance of Sesto, especially in ‘Parto, ma tu ben mio’ towards the end of act one. SCO principal clarinet Maximiliano Martin joined her at the front of the stage for the aria’s basset horn obligato in what was a clever use of the stage set-up, showcasing the musical interplay between singer and wind player.

SCO principal conductor Maxim Emelyanychev provided expert direction, seamlessly switching roles of harpsichordist and conductor. The massed forces of the Scottish Chamber Orchestra, their wonderful chorus and a stunning team of soloists produced a resplendent sound in this timeless tale of love, betrayal and ultimate forgiveness. 

La Clemenza di Tito reviewed at Usher Hall; main picture: Andrew Perry.