This delightful recording of Mozart's last opera was recorded in the wake of a concert performance at the Edinburgh Festival last year.

As part of the celebrations for Sir Charles Mackerras's eightieth birthday, it could hardly be more appropriate: his Mozart is usually something to write home about, and so it proves here.

Written for the coronation of Emperor Leopold II as King of Bohemia on September 6, 1791, the opera represented a return to the older genre of opera seria for Mozart. Traditionally, La clemenza is seen as old-fashioned because of this, but in fact the characterisations (of the female characters particularly) and light orchestration are equal to the best of his operas.

As this recording on Deutsche Grammophon shows, the piece runs the gamut of emotions, and we certainly shouldn't criticise it for failing to approach the multi-generic substance of The Magic Flute.

Mackerras' cast is on the whole, a delight. Inevitably, the recording is dominated by the Sesto of the mezzo soprano Magdalena Kožená (the new Mrs Simon Rattle). The aria 'Parto, ma tu, ben mio', in which Sesto pleads for forgiveness from Vitellia, is a triumph of controlled tone colours and fluid legato; her anguish is palpable in every beautifully shaped phrase. The contrast of dark and light in her Act II aria 'Deh, per questo istante solo' is another notable feature: one has to look back to Janet Baker's recording for an equally intelligent interpretation.

Not to be outdone in the smaller mezzo role of Annio, Christine Rice brings pathos to her singing; her Act II aria 'Torna a Tito a lato' is an especial highlight. Similarly, Lisa Milne makes a steady contribution with her Act I duet and the later aria 'S'altro che lacrime per lui non tenti'. I was less keen on the Vitellia of Hillevi Martinpelto, who is prone to a slight wobble in her arias, though her opening duet with Kožená is ravishing.

In the title role, Rainer Trost isn't nearly as bad as the reviews from Edinburgh last year suggested. His tone is full and his expression lyrical in 'Ah, se fosse intorno al trono' from Act I, and it's only really in the accompanied recitative from Act II (track 10) that he sounds overstretched.

Mackerras' conducting is eager and alert as always, recalling his Magic Flute at Covent Garden in 2005. The Scottish Chamber Orchestra follows his approach with crisp execution of the score on the whole – listen to the March of Act I, for instance – though I find the opening of the Overture a little pedantic (though the piece is a problematic start for all conductors). The Scottish Chamber Orchestra Chorus sings lustily, with the Act I finale a fitting climax to the first CD. Sound-wise, the acoustic is pretty good, considering the recording location (the Usher Hall).

A highly commendable release.

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