Despite devoting most of the rest of its season to the Mozart anniversary, the SCO has taken a somewhat tangential approach to the celebrations. Wolfgang Amadeus might be the common thread, but his music is by no means the main event in each programme, as in the first concert of the series, which the orchestra and conductor Giovanni Antonini opened with a curiosity by Süssmayr and passed through Mozart on the way to the brilliance of one of Haydn's London symphonies.

Süssmayr's status as a historical footnote is due to his much-maligned completion of Mozart's Requiem. While his Sinfonia Turchesa is no masterpiece, it reveals a composer with a keen grasp of the classical style in music that was buoyant and light-hearted with a hint of Haydnesque wit - especially in the afterthought conclusion of the first movement. Liberally spiced with Turkish percussion - including a rather exotic stamping pole adorned with bells and topped with cymbals - it might not be the greatest music, but with a stylish performance from Antonini and the SCO, it was certainly good fun.

For the Mozartian contribution to an Ottoman-empire themed programme, young soprano Rebecca Nash gave an accomplished performance of arias from his Turkish operas, Die Entführung Aus Dem Serail and Zaïde. With a voice that is lyrical yet steely, she brought pathos to Entführung's Welcher Wechsel and tenderness to Zaïde's deceptively simple serenade Ruhe Sanft, and impressively met the challenge of Entführung's arresting Martern Aller Arten.

If Nash's performance hinted that Glasgow at last has a decent venue for vocal music, Haydn's Military Symphony at the close of the SCO's first concert in the refurbished City Halls suggested that this is the Scottish venue best suited to the orchestra. The generous acoustic added a patina of warmth to the bright, supple orchestral sound and transmitted every nuance of a richly coloured performance from Antonini and the SCO.