Hot on the heels of Mackerras matching the exemplary period-instrument versions by Gardiner and Hogwood, and René Jacobs’s deliberately alternative view, Pinchas Steinberg and the Munich Radio Orchestra give us another La clemenza di Tito to consider. Looking at the cast and the stylish studio photo of Vesselina Kasarova on the cover, it seems pretty clear that this performance has been devised and marketed on the strength of its Sesto. Perhaps marketing mangers or record company executives might lament that Metastasio did not call his libretto The Treason of Sesto, or, more pertinently, The Chic-ness of Vesselina. To be fair, Kasarova’s singing is magnetising. Her throbbing, dark timbre may not strike some as a typically Mozartian vocal quality but her “Deh, per questo istante solo” has finely resolute characterisation and some brilliant singing in its animated second section (although her fast, wide vibrato is uncomfortably exposed in pianissimo passages). Her performance of “Oh Dei, che smania è questa” is compelling, although it does not compare with the musical directness and emotional transparency of Magdalena KoΩená singing her heart out for Mackerras (DG, 6/06).

Véronique Gens’s vibrantly launched passages indicate she has left her alleged early music pedigree far behind. “Non più di fiori” is finely sung, although it fails to convey an impression of Vitellia’s change of heart to take the consequences of her treason. Charles Castronovo propels his notes with traditional bel canto vigour, which might seem a mite too resonant and forced for those who prefer lighter Mozart voices accustomed to period-style subtlety. Although this approach makes Tito an undeniably authoritative figure, he does not here have much vulnerability, yells through “Del più sublime soglio”, and his character is entirely unchanged in “Se all’ impero” – music which Mozart surely intended to portray the tormented Emperor’s resolve with eagerness and excitable benevolence.

The Munich Radio Orchestra play very literally, with little in the way of shading and phrasing one has become accustomed to from Mozartians such as Gardiner and Mackerras. Steinberg conducts a compact, elegant performance. This recording will not offend many listeners, but it is rarely electrifying or invigorating.