During the pandemic, the Italian conductor Speranza Scappucci emerged as a winning televangelist for classical music. Adding another feather to her cap, she now steps up as artistic director of a lively, long-running festival that offers blue-ribbon events at fire-sale prices. All programs are heard in both Milan and Turin—reciprocal bedroom communities only 45 minutes apart by high-speed rail. The MITO label combines, à la Sea-Tac, the first syllables of the cities’ names—even as it riffs on the Italian for “myth.” Taking the cue, Scappucci points to Hesiod, genealogist of the Olympians, to remind us that Harmony is the daughter of Aphrodite and Ares, the gods of love and war. “Harmony,” she concludes, “is therefore not the elimination of conflict but its transformation into an opportunity for listening.” Sure, why not? Highlights include Britten’s alternately monumental and achingly intimate War Requiem, conducted by Simone Young; Arnold Schönberg’s impassioned string sextet Transfigured Night; the complete Beethoven string quartets; an hommage to Ennio Morricone, Italy’s answer to John Williams; David Fray in Bach’s Goldberg Variations; and William Christie and Les Arts Flo (possibly still Florissants to you?) in Marc-Antoine Charpentier’s Baroque evocation of Orpheus in the underworld. We’re intrigued, too, by the listing for “Tea with Beethoven,” whose known poisons of choice were spring water, coffee, beer, and red wine. Scappucci herself leads the revel in Rossini’s incongruously festive crucifixion cantata Stabat Mater. Remember we said fire-sale prices? How does 10 Euros sound to you? Or seven? Advance reservations are recommended for the Stabat Mater, which is free. —Matthew Gurewitsch