The current cast is excellent. The tall and imposing Peter Mattei brings vocal authority to Count Almaviva, capturing well his philandering and mood-swings. His maid, Susanna, is taken energetically by Aleksandra Kurzak; Susanna knows her way around - very sassy! Figaro himself - Ildebrando d'Arcangelo - is poised and thinking, a valet not easy to ruffle. Barbara Frittoli somewhat keeps the Countess under wraps, but her page, Cherubino, is an absolute joy in Anna Bonitatibus's effervescent performance. (Sophie Koch takes over the part of Cherubino for the last four performances). Robert Lloyd's portrayal of Doctor Bartolo is also notable, so too Donald Maxwell as Antonio, the gardener.

Indeed the cast as whole gives a fine evening of singing, per se, and acts with believability; one is taken into the complications and farce of the plot, which is enhanced by the production and sets. As befits the bustling unfolding of the story, Sir Charles Mackerras's conducting keeps the music on the move - sometimes too much so - but there is much pathos when required. Not surprisingly he brings some 'authentic' touches to the sound - 'period' horns for example - but this is not overdone and adds some distinctive touches. The woodwind-playing is exceptional; and the continuo - Stephen Westrop (harpsichord) and Christopher Vanderspar (cello) - also contributes much to recitatives, which are naturally delivered as 'real' conversation.

All in all this is a Figaro that should run and run. It is not confined to the Royal Opera House, for the performance on the 16th is relayed - live and free - to numerous big screens across the country (including Trafalgar Square, Sunbury, Aberdeen, Belfast and Liverpool). Details on www.roh.org.uk/bpbigscreens.