Having broken the gender barrier on the podium of the renowned Teatro alla Scala, in Milan, and poised for a Metropolitan Opera debut next season, the Titian-haired Rome native Speranza Scappucci returns to one of her training grounds. In the summer season’s final concert, this year’s class of elite voice students follow Scappucci’s lead in gems including the quartet from Rigoletto and the quintet from Carmen. Bookending the program are orchestral works—to begin with Rossini’s Technicolor overture to William Tell, with its galloping “Heigh-ho, Silver!” finale, and to conclude, Respighi’s The Pines of Rome. Respighi’s four gorgeous movements evoke children at play in the Borghese gardens, the brooding catacombs, a moonlit night on the Gianicolo, and the martial glory of the ancient empire. The third movement features a touch of magic unprecedented in the composer’s time: the recorded voice of a nightingale. There’s no quantifying what extra sensibility her personal associations might bring to the music, but for the record, Scappucci is a native of the Eternal City. —Matthew Gurewitsch