Although Tito’s name appears in the title, Teresa Berganza makes a persuasive case that the true center of Mozart’s final opera is Sesto. She brings a sense of stature and poise to the role, along with a level of gravitas that arguably surpasses even the Tito of Renzo Casellato.

Heather Harper offers a softer, more lyrical approach to Vitellia, favoring line and nuance over dramatic declaration; yet she reveals unexpected fire in the trio “Vengo! Aspettate!”, a moment that shows a side of her artistry one might not anticipate.

Peter Maag adopts a decidedly romantic view of the score, and while his tempos are on the leisurely side, they prove well suited to the voices assembled.