It was less flash than some other jubilees we have witnessed recently, with vastly fewer boats, planes and pensionable rock stars, but in important ways Scottish Opera's celebration of its 50th anniversary was very appropriate.
It was an occasion when those whose contribution is usually less visible were up on stage and a well-filled hall could give them the credit they are due.
An augmented orchestra demonstrated just what a fine band it is and the chorus, above them in the choir stalls and including some of the company's "emerging artists", had some excellent tunes to sing. And in front of them all departing music director Francesco Corti was demonstrably shaping an evening of classic Italian opera music.
Old warhorses they may be, but Cav & Pag are crucial milestones in the history of the artform, the verismo style invented by the upstart Pietro Mascagni and refined by the experienced Ruggero Leoncavallo in works neither of them would surpass. It was that musical story that Corti told in this concert performance.
The opening of the earlier piece seemed almost tentative and the famous hymn tune, Rejoice that the Lord has arisen, even understated, but by the end of the evening that seemed part of an arc of discovery that made an event of the birthday party in defiance of its somewhat tokenistic appearance.
Maestro Corti had drafted in some top drawer help for the night, with the solo vocal honours going to three Scottish Opera debutantes, Gabriele Spina, Antonia Cifrone and especially tenor Francesco Anile.
His contribution as Turiddu in Cavalleria Rusticana and Canio in Pagliacci was the star turn in a night to remember, albeit with mixed emotions.
HHH
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