The Count wants to seduce Susanna, Figaro's bride, or at least claim the “right of the first night“ as her employer: That is the core of the entanglements at the heart of the great day in Wolfgang Amadeus Mozart's “Le nozze di Figaro“. A good 40 years after the premiere of this immortal opera buffa, Felix Mendelssohn, celebrated as the “second Mozart“ in his childhood days, visited the historic Palace of Holyroodhouse in Edinburgh: “The chapel next to it is now missing its roof, grass and ivy grow abundantly in it, and Mary was crowned Queen of Scots at the broken altar. Everything there is broken, rotten and the clear sky shines in. I think I found the beginning of my Scottish Symphony there today.“ Mendelssohn's Violin Concerto is the most seductive addition imaginable: passion, virtuosity, songfulness and a cheerful, capricious fairy tale in the finale make it a general favourite - with the audience as well as here with the Philharmonia Orchestra and Julian Rachlin in the double role of soloist and conductor.