And yet, while La Clemenza di Tito may lack the overwhelming passages of his other late operas, there are some extremely charming pieces assembled here. Despite high-ranking competitors, Mackerras makes this point as rarely heard before.

This is definitely a performance out of the top drawer. Sir Charles’ conducting comes through as freshly as that of any of his younger colleagues, and the Scottish Chamber Chorus and Orchestra seem to have been waiting for this opportunity to show off their excellence. Despite playing on modern instruments some period elements like the fortepiano in the continuo add warmth to the overall precision. Solos, like the obligato clarinet in "Parto, ma tu, ben mio" demonstrate a sensitive regard for colouring and transparency.

Among the vocalists, Kozená’s Sesto has perhaps been the most eagerly awaited. Her easeful rendering of coloratura is masterful and her dramatic sense makes up for what other mezzo-sopranos may have to offer in vocal depth.

Also greatly impressive are Hillevi Martinpelto’s Vitellia and Christine Rice’s Annio. Rainer Trost, on the other hand, is perhaps a little on the lyrical side for the role of Tito.

As a whole, this is a thoroughly masterful and rewarding performance.
ERWIN HÖSI.

La Clemenza di Tito K. 621
W.A. MOZART
Sir Charles Mackerras
Scottish Chamber Orchestra Chorus, Scottish Chamber Orchestra
Magdalena Kozena, Rainer Trost, Hillevi Martinpelto, Lisa Milne, Christine Rice, John Relyea
Deutsche Grammophon 477 5792
2005 - 127::31 min.