Last, but most certainly not least, among Scotland's three main orchestras, the Scottish Chamber Orchestra opened their season on Thursday and Friday with concert performances of Mozart's Don Giovanni. They had also chosen the occasion to pay tribute to their conductor laureate Sir Charles Mackerras. It was a fitting choice. Within the significant chunk of his epic discography featuring the SCO, which includes cycles of Brahms and Beethoven symphonies, two fine braces of late Mozart symphonies, some stunning Schubert, Mozart concerti with Brendel, and much more besides, by far the largest single chunk is occupied by his survey of Mozart's major operas. Between 1991 and 2005 they recorded all the Da Ponte operas (including both the Prague and Vienna versions of Don Giovanni) as well as Die Zauberflöte, Idomeneo, Die Entführung aus dem Serail and finally La clemenza di Tito. Picking through the various sets, which were often made in the run up to concert performances at the Edinburgh International Festival, reveals am impressive list of singers. In short, it would be difficult to deliberately programme a more fitting tribute to this great artistic partnership.
If Robin Ticciati, who has recently extended his contract with the SCO, was awed by stepping into these vast shoes, it was not apparent. He kept up a brisk pace, and yet it was not overly hurried (as, say, Daniel Harding's recording with the Mahler Chamber Orchestra is). The playing of the orchestra was impeccable. Indeed, in a way it was almost invisible. That is not meant as a criticism, rather to say that the playing never upstaged the drama as a whole, not even the flamboyant David Watkin, once again doubling up very well on cello continuo; instead it was merely there, beautifully, in the background, supporting the overall drama perfectly. Indeed, so uniformly fine was it that, despite looking out for any exceptional flashes to single out, I found none, often a mark of an exceptional performance. Ticciati showed his pedigree with Glydnebourne Touring Opera, both in the emotion and humour he found, and also with his generally sensitive accompaniment of the singers.
Among a strong cast, Kate Royal stood out as with a moving and well acted Donna Elvira, so too Rafal Siwek's powerful Commendatore. Susan Gritton's Donna Anna, though nicely sung, wasn't quite in the same league. In the title role, Florian Boesch was generally excellent but at some of Ticciati's brisker tempi he lost his diction (especially during the champagne aria). I always feel Don Ottavio is a rather wet and thankless role, but Maximilian Schmitt turned in as persuasive a performance as I've heard. Vito Priante made for a fine Leporello, nicely capturing the oscillation between being pressed unwillingly into service and abetting the Don. Malin Christensson's beguiling Zerlina and David Soar's largely (and justifiably) dour Masetto rounded off the cast.