The orchestra and their conductor, Franz Welser-Möst, were truly the leading protagonists in this new production of Don Carlo by Daniele Abbado.

On this evening not only was the playing immaculate throughout, but it was infused with every imaginable emotion in accord with the dramatic demands of the plot. In general, the tempi were highly dynamic (particularly when the chorus was involved), but with sufficient leeway to allow the soloists to expand their phrasing, as appropriate.

With sets by Angelo Linzalata, costumes (in essence, traditional) by Carla Teti and lighting by Alessandro Carletti the overall effect is inoffensive at worst and rather bland at best. A familiar system of panels offering flexible apertures as required lends an appropriately stark atmosphere which functions best in the plot's more intimate moments. The grand ensembles and the auto-da-fé scene develop an almost chamber-like effect, failing the dimension of Verdi's score and the potential of this enormous stage. The interaction between the cast comes across as little more than standard and rather lacking in inspiration - but at least avoids adulteration of the thematic material and appears to allow the soloists logical development within the overall framework of the plot.

The 1884 Milan version in four acts was favoured for this production.

The cast undoubtedly ranks in today's upper echelons, but brought some surprises, both positive and negative.

Luciana D'Intino (Eboli) is equipped with all the necessary attributes to fulfil Verdi's demands in this role. Her range, dynamic capabilities, and flexibility leave no desire unfulfilled. Both her arias were flawlessly sung and taken with aplomb, and she otherwise well tempered her voice to integrate with the remaining cast. The character appeared a little matronly and might have benefited from a little more glamour in the costume department, but from the vocal viewpoint this was a tour-de-force performance.

Krassimira Stoyanova's attractive Elisabeth boasts a solid lyric soprano with reliable technique and sufficient metal to ride the more dramatic moments in the score with ease (in addition to touches of an Italianate chest register which she uses to good effect) as well as the ability to seamlessly pare back her tone above the stave to underscore her palette of colours as required. "Tu che le vanita" was unusually veristic in approach and expressed an interestingly passionate development in character to nicely round off her interpretation.

René Pape - impressive in stage presence as well as in vocal dynamics - nevertheless lacks the ideal Basso cantante, and indeed perhaps the "anima" for Philip II. The great Act 2 monologue failed to move or captivate, whereas his Act 1 duet with Posa did impress in its drama and timing, as did the interaction with The Grand Inquisitor. While Pape may be one of the best in today's stables (and supreme in certain roles), he alas fails to eclipse memories of some illustrious predecessors in this opera.

As Posa, Simon Keenlyside makes very intelligent use of his resources, phrasing well, and creating a truly credible and sympathetic figure. His death scene was one of the highlights of the evening.

Eric Halfvarson brings an unusually effective dimension to the Inquisitor with ample tone and a chillingly-metallic timbre which leaves no doubt as to his power and authority.

Valentina Nafornita, bell-toned and accurate, is a touching Voce dal Celo.

In the title role, Ramon Vargas enjoys many fine moments throughout the evening - and indeed, here creates one of his most credible stage figures, in part through his demeanour but also through his clever pointing of words in conjunction with a youthful lyrical timbre. Unfortunately, that very lyricism presents unfortunate shortcomings when faced with Carlos' more dramatic outbursts. It is really Vargas' commendable technique which saves the day, but this remains a borderline role for him, without question.

All-in-all, an enjoyable evening and one worth experiencing if only for the pleasure of such magnificent orchestral playing. A revival is scheduled in the coming season.