Opera Review: La Donna del Lago

The first scene takes place in a museum of Scottish curios, where gentlemen in early 19th-century dress inspect a display case containing Joyce DiDonato, the lady of the title. One of the spectators is Sir Walter Scott, on whose poem the 1819 opera is based, and another is Rossini.

DiDonato emerges from her glass case, and the Landseer-style backdrop opens out to reveal a circular staircase that serves as a fortress. It is the time of the Jacobite rebellion of 1745 and Elena (the Lady) is daughter of rebel chief Duglas.

Three men ardently pursue her: the King of Scotland, disguised as "Uberto"; her fugitive lover Malcolm; and Rodrigo, the suitor being forced on her by her father. Tartan terror runs riot. Hairy highlanders disembowel a deer, the entrails tumbling out into a cauldron.

The king of Scotland fights the plaid-clad horde with a red-coat army, stringing up rebel corpses. Finally, increasingly dishevelled Elena gets the man she wants (though Malcolm is sung by statuesque mezzo-soprano Daniela Barcellona).

The king (Juan Diego Florez) graciously assents to her choice, while Rodrigo conveniently dies in combat.

The plot may be nonsensical but the singing is outstanding. DiDonato is ravishing as Elena, her coloratura glorious, the floating notes ethereal. The impeccable Florez pings High Cs tirelessly and Barcellona is a formidable Malcolm.

Surprise of the evening is Missouriborn tenor Michael Spyres, replacing an indisposed Colin Lee as Rodrigo. His storming performance and voice ranging from high tenor to baritone made for an electrifying debut.

The orchestra under conductor Michele Mariotti gave an agile account of Rossini's score. The performance tomorrow will be screened live into cinemas across the UK, and the opera will be broadcast by BBC Radio 3 on June 15.

ROSSINI'S LA DONNA DEL LAGO: 4/5

Royal Opera House London WC2 (Tickets: 020 7340 4000; £8-£180)