Cecilia Bartoli, who has made a specialty of music for castrati, revisits the part of Sesto in a concert performance of La Clemenza di Tito. Mozart’s penultimate work for the stage, this tale of imperial magnanimity in ancient Rome was commissioned in the stuffy, no-longer-current opera seria style for a royal wedding in Prague. It’s in Italian, yet the stuck-up bride pronounced it a porcheria tedesca, or German Schweinerei. Even now it has prominent detractors, but with Bartoli on board in a flamboyant part written for the surgically altered male soprano Domenico Bedini, few will complain. Dramatically, it’s a tricky assignment. Though noble of heart, Sesto conspires to murder his beloved friend, the emperor, for love of a scheming vixen. Despite arson in the Capitol, all ends happily enough. Anna Prohaska plays the devious Vitellia, who leads Sesto astray. Charles Workman plays Titus, who does the forgiving. Gianluca Capuano conducts. —Matthew Gurewitsch