This terrific Tosca makes for a truly successful revival of Catherine Malfitano's production, first seen last year.

The performances of the three principal singers are all noteworthy, to which conductor Stephen Lord must be added as a vital part of the drama. He not only draws superb playing from the ENO Orchestra, he also has a long-term view of the opera, its almost-symphonic ebb and flow, and displays a fine ear for colours, blends, balances and dynamics. What is more the opening of the opera - Scarpia's motif - is seismic in its arrest (pun or no pun?) and breadth, and remains so when it returns. Orchestral menace at its best!

Whether in the shadows or in the foreground, Anthony Michaels-Moore (returning to the role) sings and acts an evil Chief-of-Police Scarpia; he clearly enjoys his pampered lifestyle in Act II and his self-promotional credo (parallels with Iago) therein is chilling. His henchmen are a chilling lot too.

As Cavaradossi, Gwyn Hughes Jones is a sensation. His powerful and beautiful tenor fills the Coliseum without effort or force; his characterisation is vivid without overplaying things and he conveys the character in three-dimensional form. It was a pleasure to listen, watch and be involved with him.

As Floria Tosca, Claire Rutter is scarcely less fine. Some of her bottom notes got lost (a lack of power) but otherwise savvy Tosca's jealousy, kindness and stoicism is well caught in a confidently sung and heroically acted portrayal. "Vissi d'arte" is sensitively sung, from the heart.

Malfitano's direction continues to impress. She knows the opera, and this role, from the inside - and it shows. Maybe Tosca's stabbing of Scarpia is a little tame, but the urgency of Act I's opening scene in church (with the discovery of the political prisoner) is compelling, as is the whole show, culminating in a striking Act III set (for Cavaradossi's execution and Tosca's back-flip to death) in which The Time Tunnel seems to meet the Lunar Space Probe. On this first night the amount of coughing during this starlit music (beautifully played) had to be heard to be believed.

With impressive traditional sets, good lighting, and a sense of momentum and teamwork from the director down, here is a Tosca without tricks and tomfoolery and very high on musicianship and stagecraft; the involvement level for the audience is that much higher. A great night at the opera.