The ORF Radiosymphonieorchester Wien and Leo Hussein are the veritable stars of this production - bringing Rossini's testing score to life with all the verve, precision and imagination required to propel this neglected masterpiece into the list of popular operatic literature.

Alas, the issue of casting Rossini's works is an ever-increasing challenge with seemingly fewer vocalists in all ranges adept at mastering this very specific branch of bel canto technique and style.

This co-production with the Grand Théâtre de Genève staged by Christof Loy somewhat circumvents the issue in a kind of spoof which uses the Walter Scott elements in an amusingly typical "home setting," while reinventing some of the figures and eccentrically imposing a parody of one of today's most famous Rossini interpreters onto the character of the mezzo lead, Elena. The concept relieves some of the onus on straight-laced bravura singing (at least at times) and balances the scales in offering a palette of visual entertainment to augment the luxurious orchestral proficiency in the pit.

Malena Ernman (Elena) evidently has great fun with her part, employing a wide gamut of grimaces in her acting and generally meeting the composer's demands sufficiently to create a credible - if not purist - Rossini figurine.

As Giacomo, Luciano Botelho offers a winning character, and rises to the challenge of this fiendish part with some solid scale work, and a sense of style - marred only by a certain tension and thinness of timbre in the upper extension of his range.

Gregory Kunde - whose roles span from Pollione to Verdi's Otello - produces stentorian top notes which may ring true in some operatic repertoire but which have no place in this work, even within the context of this rather blustering portrayal of Rodrigo di Dhu. A general lack of legato, and fluidity of tone further exacerbate the vocal deficiencies of this portrayal.

The Armenian mezzo, Varduhi Abrahamyan, (Malcom) takes the laurels among the soloists for her ideal vocal colour, technique, style and acting ability. Brava! Also on a positive note; a powerfully underplayed portrayal by Maurizio Muraro in the role of Douglas d'Angus, as well as strong contributions by Benedicte Tauran (Albina) and Erik Arman (Serano).

Clever use too (choreographer, Thomas Wilhelm) of ballet inserts and, of the Arnold Schoenberg Chor, who never fail to impress in their stage work.

An atmospheric setting (Herbert Muraurer) with wood-panelled walls flanking a proscenium and second stage to the rear centre unobtrusively serve to transport the action throughout the entire work. Simple, but effective.

Rossini would no longer recognize the storyline with its additions and alterations, but could feasibly find more than a little pleasure in the humour and entertainment value of this compact and valuable rendition.