What better way to spend an afternoon than with some frothy Rossini, served up with aplomb by Scottish Opera? The latest in the series of concert performances of lesser-known operas is La Scala di Seta, a fast-paced farce in which young love thwarts the older generation and, for a change, the servant is more of a hindrance than a help.

Rossini specialist David Parry was brought in to conduct and decided it needed more than a purely ‘concert’ performance, so the staging was put together in three days. The set comprises a wing armchair that has seen much better days, two free-standing trellis screens, and a white silk scarf – standing in for the silken ladder.

It’s a particular pleasure seeing Nicholas Lester in a comic role as the servant Germano, who is not as bright as he thinks he is. It might have been tempting to play him as a clown or an idiot, but Lester plays him straighter than that. It is, of course, shameless how Giulia (Jennifer France) toys with the affections of her devoted servant, but their first act duet is excellent. In the second act, he very convincingly dozes off and talks in his sleep.

France is a lively and engaging Giulia, secretly and only just married to Dorvil, and about to be married off to Blansac by her guardian and tutor. No wonder she is driven almost to distraction – and has some gorgeous, and high, music with which to express her exasperation. Luciano Botehlo is her husband, who has the indignity of being asked by his friend Blansac to observe him seduce Giulia.

Joshua Bloom plays Blansac as Medallion Man – a self-confessed serial philanderer, the chat-up lines he uses on both Giulia and her cousin Lucilla are pure Parmesan. His full, rich bass contrasts well with Botehlo’s lyrical tenor, and a high point of the first act is the quartet of Dorvil, Blansac, Giulia and Germano.

Cousin Lucilla rather fancies Blansac, so is a bit miffed with the goings on. Katie Bray tries not to show Blansac how much she fancies him, but is really rather flattered by his attentions, however much she doesn’t really believe him. She gets her reward in the end, though.

Finally, there is the guardian Dormont, trying to marry his ward off to a rich man, when she has other ideas. Christopher Turner is sufficiently pompous and stuffy to be convincing, but not so much that his change of heart looks contrived.

There’s some very nice playing indeed from the orchestra – crisp and precise, but light, full of the gentle humour and fun that makes this opera such an entertaining piece.