Rossini's Stabat Mater has had a somewhat chequered history. First performed in 1842, it became one of the most popular religious works during the 19th century. The 20th century saw a reaction against it, however, and the jury is still out as to its quality. The score, so the argument runs, is both too self-consciously operatic and too overtly melodic to form an adequate representation of the sacred. The upbeat mood it generates, moreover, is considered inappropriate to the text, which meditates on the Virgin Mary's anguish on beholding the crucified Christ.

Despite its flaws, this performance, with Paolo Olmi conducting the London Philharmonic Orchestra and Chorus, revealed some of the criticism to be untrue. The idea that the score is too melodic to be religious is rubbish anyway: one could say the same about the Messiah, Bach's Passions and Mozart's Masses. The charge that the work is operatic is harder to refute, though it derives from the quintessential Rossinian equation of violent emotion with vocal extremism. The juxtaposition of the spectacular outpourings of the soloists with the contemplative role assigned to the chorus is integral to its structure.

Olmi's conducting had tremendous sweep, and the playing and choral singing were at once meticulous and thrilling, above all in the whirling fugue with which the work closes. The soloists, however, were something of a mixed bag. Soprano Lucia Aliberti was buried in her score and communicated little. Mezzo Francesca Provvisionato revealed a fine, bright tone, though a darker sound is preferable in this work. The tenor and bass - David Alegret and Manrico Signorini - were outstanding.

Olmi elected to preface the work with Mozart's 40th Symphony, though he appears to be a variable Mozartian: the Andante and Minuet were impressive in their austerity; the outer movements were too four-square to have the requisite impact.