If the Edinburgh International Festival seems rather short on opera, it’s good when what is on offer is as rewarding as the Scottish Chamber Orchestra’s concert performance of Stravinsky’s The Rake’s Progress.

The Hogarthian tale, told through W. H. Auden’s and Chester Kallman’s libretto, can be staged with grotesques, spite and malice. Not, however, this genial performance, conducted by Andrew Davis, with the orchestra in great form and the excellent young voices of the Royal Conservatoire of Scotland as the chorus.

Deprived of spectacle, one notices Stravinsky’s neoclassicism and the wit of the music – and, of course, the singing.  From this reviewer’s seat, the singers were occasionally overwhelmed on their lowest notes by the orchestra. Apart from that, it was a delight. Emily Birsan was a sweet-voiced Anne Trulove, bell-like in in the Act 2 trio with Tom and Baba the Turk, heart-breakingly tender (as it should be) singing “Gently, little boat” to soothe Tom in the madhouse.

Baba the Turk – Susan Buckley elegant, if bearded, in purple harem pants – was warm and generous in acknowledging Tom’s enduring love for Anne, despite having married her.  It was easy to see why she had had so many wealthy protectors in her career.

The story is about Tom Rakewell and his fall from innocence, given the money. Andrew Staples was a fresh-faced young man, retaining a sweetness in his voice throughout, except for one small, whiney ‘Why’ to Baba and a single harsh riposte to Shadow. Nor did he give in to self-pity – Staples gave him a bit more self-knowledge than that.

Long, lean and louche in black leather trousers, from his first entrance, leaning against the door jamb, Gidon Saks was an inviting, inveigling Nick Shadow, wicked but not truly malevolent. He even managed to elicit some audience sympathy for the Devil after losing the card-game for Tom’s soul. Although his voice had an edge, it was a finely judged one, which did not tip over into coldness

Amongst the minor roles, Trulove’s sincerity shown through Peter Rose’s singing, and Catherine Wyn-Rogers was an engaging Mother Goose, lassoing Tom with a puce feather boa and dragging him off-stage for his initiation into the ways of the world. The auctioning of bankrupt Tom’s (and Baba’s) worldly goods is undertaken by a spiv-like Sellem (Alan Oke) in white jacket, shades and very shiny shoes. Ingratiating himself with the audience as much as the would-be buyers, in the guise of the chorus, while Baba remonstrates about the loss of her treasures.

This generosity of spirit carries through even to the Keeper of the Madhouse, who is played by Ashley Riches not as coarse and vulgar, leering suggestively as he leaves Anne alone with Tom, but as kindly and understanding.

None of which undermines the moral of the tale, relayed in the jolly ensemble at the end. The tale may be over, but the joy of this performance will linger.