SCO/Ticciati

It is an odd reversal of fortune that Berlioz's Symphonie Fantastique, ­considered scandalous during his ­lifetime, has been embraced as standard repertoire, while the oratorio L'Enfance du Christ, initially a huge success, is now something of a curiosity. L'Enfance is certainly not typical Berlioz: theatricality and exuberance are nowhere to be seen. It is a study in miniature, the ­overwhelming mood one of tranquillity. The SCO's new principal, Robin ­Ticciati, has already demonstrated his affinity for Berlioz during his short tenure, performing the ­composer's ­theatrical cantata The Death of ­Cleopatra with the mezzo-soprano Karen Cargill last year. Cargill headed the cast here as Mary, revealing an entirely more gentle vocal persona from that of the suicidal Egyptian queen; the tenor Yann Beuron brought a Gallic authenticity to the role of the narrator. Though a choral work, the piece's orchestral writing leaves more of an impression than the vocal lines. Ticciati gently emphasised the shifting ­orchestral colours, seeming more at ease here than in previous appearances with the ­orchestra. There were fewer grandiose gestures, and his approach was direct rather than effortful. It didn't all quite come together: the ensemble was a little ragged in places, while Ticciati's upbeat handling of the Shepherd's Farewell – the familiar stand-alone moment of the work – seemed misjudged. But the serene beauty of the piece was always apparent, particularly in the final scene of part one, in which Mary and Joseph are joined a chorus of celestial voices, the women of the SCO Chorus – not unseen here, but high above the stage at the top corner of the organ gallery.