Third time lucky! Following Fidelio and Die Fledermaus, both of which divided opinion, Anthony Minghella's production of Puccini's wonderful opera returns to put ENO's season back on track, surely unanimously.

Now on its fifth revival, the staging still looks good, often captivating, with plenty of colour and spectacle, with a feeling of insularity created by the sliding screens yet without denying the wide world beyond it, from where Pinkerton, Lieutenant in the United States Navy, comes to marry Cio-Cio-San (Madam Butterfly) and then break her heart.

From the opening orchestral salvo, it is clear that Gianluca Marcianò, making his debut at ENO, is going to impress with his conducting. To perfectly paced tempos, the playing is precise and passionate, full of detail and variegation.

From the pit upwards, the cast is also strong and characterful. Standing out, as she surely must, is the Butterfly herself. Dina Kuznetsova is marvellous, the role beautifully sung as such, but also so suggestive of Butterfly's loyalty and innocence, if naive belief, and also the deeper side of things that are important to her, not least a fiery side when hurt or troubled. This is an outstanding portrayal, both vocally (not least Kuznetsova's ringing top notes and control of dynamics) and acting.

Not far behind is Pamela Helen Stephen as Butterfly's devoted maid, Suzuki; in many ways this is the standout performance for giving the part an equality it can sometimes lack.

With the gents, things are not so clear cut. Timothy Richards as Pinkerton has an attractive tenor voice, with a hint of baritone in it, and although he plays the cad well, if not so much the remorseful lover later, his projection was often lacking on this first night - I do not think the orchestra was too loud - and also his diction was not exemplary, meaning that the English surtitles were especially invaluable. Yet, all the singers took their different shares of swallowing some of David Parry's translation, once again suggesting that given ENO now uses surtitles that it may as well use in the original language.

George von Bergen made for an ideal Sharpless, the US Consul, business-like and humane when required.

Butterfly and Pinkerton's love-duet at the close of Act I was musically ecstatic and the opera's closing stages, when Butterfly takes her own life, rather ritualistically here, were certainly poignant. The ENO Chorus was excellent throughout.

With well-judged lighting, the well-brought off puppetry for the little boy that is Butterfly and Pinkerton's creation (in fact this is rather and curiously moving), and much to ravish the eye in terms of display, costuming, props and choreography, and with this current cast and conductor much that stimulates the ear, then ENO has another sure-fire success on its hands with this revival (although the second interval, coming after the lovely 'Humming Chorus' is disruptive).

Those that think that the late Anthony Minghella's production (revived here with certainty by Sarah Tipple) crosses the line from opera into musical do have a point, yet the opportunity to escape into something of a dream-world, without denuding the unfolding tragedy, is welcome.