An undeniable wealth of thought and effort is evident in this production by Sven-Eric Bechtolf and his team, but nonetheless one comes away with a feeling at the end of the evening of being shortchanged by this new Cenerentola.

The concept, and its setting (the fictitious state of San Sogno in the 1950's) has more than a little potential for success. The update brings with it a collection of vintage cars, a cycle-powered gelati vendor, a wonderful spread of period costumes and even a little political background with portraits of the local ruling family - one of whom materializes out of oil and canvass to provide Alidoro with the bouquet for Angelina's nuptials.

The sets, however, are unyieldingly lacking in depth with an overpowering floor-to-ceiling surface broken only by a series of shutters and doors which reveal everything from a kitchen unit to Don Magnifico's vertical bed, garages for the motor vehicles and cupboards for Clorinda and Tisbe's bulging wardrobes.

The sheer dimensions of both stage and auditorium are the Achilles' heel for most - but not all - of the cast. In a more intimate setting this production in its current line-up would undoubtedly stand a much greater chance of effect. Here, there appears to be a constant sense of needing to fill the vast stage with frenetic activity, some of it with little apparent logic. Bechtolf has clearly coached his cast meticulously and defined their characters, but essentially only three of the protagonists were truly convincing and adequate for the house.

Firstly, Ildebrando D'Arcangelo, who brings both the necessary vocal competence (despite having cancelled the previous performance and being announced as indisposed) and stagecraft to an Alidoro who seems to pull all the strings in this production.

Just as successful in their portrayals of Clorinda and Tisbe were Valentina Nafornita and Margarita Gritskova. Both ladies boast not only model-like physical attributes (they appear in negligee in the opening scene) but sufficient acting and vocal ability to practically steal the show.

I liked Vito Priante's Dandini - cast here as something of a would-be hip-gyrating Elvis - full of verve with a certain charm and vocalising well, but (as mentioned) just a shade underpowered for this stage.

Alessandro Corbelli goes through Don Magnifico's antics with the technique and aplomb of an old-hander, but again, is wanting somewhat in sheer dimension of personality and tone.

And to the final leads, Dmitry Korchak (Don Ramiro) and Tara Erraught (Angelina). Seldom has one witnessed so bland a pair of operatic lovers! Ramiro comes across as stiff and unromantic, intent purely upon impressing his audience when the vocal opportunity arises. Angelina appears almost as a simpleton who fails to make the transition from her wallflower image to the glittering bride.

Korchak is vocally the more satisfying of the pair, often phrasing lyrically and negotiating his more florid moments with fair accuracy. His tone is in fact more generous than certain contemporaries in this Fach, but he nevertheless seems bent upon adding further volume at the top of his range - which at times introduces an element of vocal distress.

Erraught gives the odd impression of vocally pacing herself. She is generally inaudible in ensemble scenes, and her solo moments reveal a deficit in low and mid-range volume. With altitude, the tone increases in size but then becomes shrill at the extreme top, thus thwarting any opportunity to compensate for other shortcomings. All-in-all a rather uneven and unsatisfying portrayal.

Alas the same must be said for Jesus Lopez-Cobos' efforts in the pit. While going through all the motions, the final result lacks the kind of sparkle this music can - and should - generate, and disappoints rather like a collapsed souffle.

Perhaps a revival with some cast changes can awaken this princess to life.