What? An opera where nobody dies, has their heart broken or life ruined? L’Amico Fritz, Mascagni’s follow-up to the Sicilian passions of Cavalleria Rusticana, and which opened Scottish Opera’s season of concert performances, exudes charm and gentleness.

The concert season introduces lesser-known works to the audience – the programme states that L’Amico Fritz was last performed in Scotland in the 1890s – and, at least in this example, makes a case for a staging.

In rural Alsace, landowner Fritz is celebrating his birthday with friends – and decrying love. Wise Rabbi David has a sideline in match-making and decides to sort his friend out when he sees the impact that the arrival of Suzel, daughter of one of the tenants, has on Fritz. Stephen Gadd’s Rabbbi had a smile in his voice – mainly kindly, but sometimes teasing and mischievous.

After Tony Moffat’s violin solo announcing her arrival as Beppe, a gypsy friend, Hanna Hipp’s opening salutation to Fritz grabbed our attention. Her performance throughout was confident with a hint of gallusness.

Fritz’ other two friends. Hanezò and Federico variously comment on and participate in the action, Donald Maxwell’s bumbling buffer Hanezò frequently being told to shut up by Paul Curievici’s slightly more astute Federico.

At that first meeting with Suzel, there was a dreamy quality to Fritz’ reply. He may have had that coup de foudre, but Peter Auty eschewed histrionic passion in his portrayal of the love-struck landowner. Even in the lilting Cherry Duet with Fritz, Natalya Romaniw was serene – only becoming emotional when the Rabbi tested her affections for Fritz.

Stuart Stratford conducted the Orchestra of Scottish Opera with enthusiasm which, focussed by the ‘acoustic shell’ on the stage of the Theatre Royal, sometimes overwhelmed the singers. Nonetheless, the exuberance of the music drew vivid pictures of the Alsace landscape.