At best embarrassing - at worst infuriating - this production by David Pountney could epitomize the demise of the operatic art form if taken too seriously.

The fact that the sets are essentially neutral is the least offensive aspect of the staging. The affront comes with the hackneyed techniques of video messages: the firearm, the revolving wheel of fate – all rather trite. Even more irritating is the apparent lack of guidance for the protagonists who are “ham” in their acting to a point almost beyond belief.

Of all the leads, only Carlos Alvarez (Don Carlo) approaches the task in question with suitable material and true solid competence – and that on a scale not grand but nevertheless adequate for a major house. He uses his burnished baritone to good effect, but just lacks the bite and dimension needed for the interpretation to really take off.

Salvatore Licitra is a true master of “can belto,” often indifferent in pitch, sliding aimlessly between notes, and totally lacking in Verdian style. Coupled with his limited stage ability this Alvaro became a ridiculous and quite incredible figure.

Nina Stemme who is taking leads in no less than three new productions here this season (Walküre, Forza, and in addition, Siegfried, where she is replacing Deborah Voigt as Brünnhilde) seems to win the audience with her richly-textured mid-and-lower ranges, which she often uses to good effect. The fact that her high notes are only achieved con forza, that the voice is not Italianate, and above all, that her phrasing is square and unimaginative, all seem irrelevant.

Alistair Miles sings both the Marchese and Guardiano. In both roles his colourless bass was totally lacking in power (on occasions just barely audible in the lower register), and his persona somehow reminiscent of a high-street banker who had wandered into the proceedings by mistake.

His Melitone, Tiziano Bracci, did little to augment the evening, contrasting with his Senior purely through his portly figure and lacking in the humor and charm this character deserves.

Preziosilla is a sexy cow-girl in this interpretation - and it must be said, Nadia Krasteva has the shape (and attitude) to match the concept. Accurate scale-work and clean top notes would have been a bonus.

Zubin Mehta drew a warm luscious sound from the pit with much commendable detail and nuance. However on occasion he was at odds with the stage both in solo and ensemble numbers. The chorus was in excellent form, and the ballet precise in their obnoxious pop video-style choreography for the Las Vegas moments.

In keeping with other State Opera premieres this season, a postage stamp has been issued to mark this production. It might be the best aspect by which it will be remembered.