Despite an interesting concept and a fairly illustrious lineup of performers this performance, alas, rarely took flight.

As part two of Claus Guth's Monteverdi's Trilogy in the Theater an der Wien (following last December's L'Orfeo) this modern day setting focusses on the psychological and social impact of war.

A revolving stage of neutral sets allows smooth changes between Penelope's palace, a bar (in which the heroine is subjected to temptation), and the scene of battle. Guth's concept is certainly full of ideas and nice touches, such as the amusingly-choreographed number for the Faeci as they attempt to court Penelope, and the nicely cameoed Iro (Jörg Schneider) - to add some light relief to the proceedings.

Of all the protagonists, Garry Magee (as Ulisse) came closest to providing a kaleidoscope of emotions and vocal inflection - and to winning sympathy from the audience.

Delphine Galou's Penelope too frequently failed to cross the footlights, both in vocal tone and stage presence - at times so understated as to be incomprehensible.

In contrast, Sabina Puertolas (Amore/Minerva) much impressed with her pert accuracy and bright stage personality, as did Sebastian Kohlhepp's nicely rounded Eurimaco.

Pavel Kolgatin sang a solid Telemaco, Marcel Beekman an accurate Eumete, and Rupert Enticknap displayed a well- focussed counter tenor and evident stage facility as L'Umana fragilta, Pisandro and Un feaco.

Phillip Ens (despite indisposition and medication) was a sonorous IL Tempo/Nettuno.

As one would expect, Christophe Rousset and his illustrious Les Talens Lyriques (in its16 member format) guaranteed subtle and accurate support from the pit.