Just over a year on from Plácido Domingo's first round in this Peter Stein production , opera's Peter Pan returns with a revamped cast which - at least on paper - appeared appetising.

Domingo's many qualities have maintained his ranking and popularity throughout an extraordinary career and this revival is testimony to his unique artistic blend. He has (of course) not become a Verdi baritone in the interim period and this performance reinforced impressions from last year - particularly obvious in the Act 1 Council Chamber scene - while nevertheless according the sheer respect due to a veteran still able to muster such energy and draw apparently unlimited enthusiasm from his audience.

It is however bizarre - and a depressing reflection on the state of the art - to consider that a septuagenarian should set the standard for his younger colleagues as a example of Verdian style, solid vocalising, and skillful stage craft.

Ain Anger as Fiesco, towering almost a head above Domingo in stature, can at times produce some impressive sounds but generally came across as vocally unhewn for the task at hand, under-rehearsed (and not just because he lost his line in his duet "Vieni a me, ti benedico..." with Gabriele), and lacking the insight to raise his portrayal to become a true foil to this Boccanegra.

A visually attractive Amelia (a role debut in the house), Barbara Haveman brings a certain grace and vigour to the role. However, "Come in quest'ora bruna" and the following scenes with Gabriele and Boccanegra were plagued by lumpy phrasing and uneven intonation. Despite some improvement in Acts 2 and 3 the overall impression was nevertheless wanting in vocal ease and plasticity.

As Gabriele, Ramon Vargas (another role debut in the house) performed well within his limits - which remain essentially lyrical and which fell short of rising to the occasion in the more declamatory sections - and as such made for a rather small-scaled interpretation.

Leaving a strong impression, both Eijiro Kai repeating his villainous Paolo and Sorin Coliban's generous-toned Pietro reminded of their value to the house ensemble.

The orchestra was somewhat out of sorts under Philippe Auguin - again, sounding as if an extra rehearsal mightn't have gone amiss, and with few moments really taking flight as one would wish for in this glorious score.

A bouquet for the lead, and generous applause all-round amidst the flashes of cameras capturing the event for posterity.