This Figaro revival sees the welcome return of several leads from the original cast - paired this time round with a new Susanna and Cherubino, to crown past runs in every respect.

Dating from 2006, Figaro was the first of Claus Guth's Salzburg Mozart/da Ponte cycle. Giovanni followed, and this years sees the new Così.

His Leitmotiv throughout the series is "Eros" - in Figaro given to a juggling, feather-throwing Cherub, who figuratively pulls the strings, clambering on top of singers in some of their most challenging moments, appearing when you least want him, and generally making a nuisance of himself. Does his presence really contribute? In this lineup of singing-actors, hardly necessary - and at worst, a distraction. During the interval I was amused by an English group who, in Prince Charles vowels, debated the reasoning behind the Cherub - and simply concluded, "...it must be a German thing!"

The production has in past seasons been generally well documented - but a re-visit is a reminder here of the emphasis on the "darker" elements throughout the evening - with a corresponding deficit of esprit, humour, and charm. (Isn't Figaro an opera buffa?). However, there's always the musical experience to consider - and that on this occasion was exceptional.

It is hard to envisage a more homogenous and supreme cast on today's international circuit. Firstly the newcomers. Marlis Petersen is an effervescent, charming and vocally flawless Susanna. As Cherubino, Katija Dragojevic tempers her vibrato and colors her timbre to perfection for the role - quite suburb singing and acting.

Returning to the production, Luca Pisaroni, (Fiagro), Gerald Finley (Count), and Dorothea Röschmann were all in exceptional form. Pisaroni builds on his solid, relaxed, portrayal - singing with aplomb. Finley's Count is an absolute tour-de-force - a portrayal eclipsing all others in recent memory. An unusually veristic Countess, Ms. Röschmann phrases eloquently with just the ideal vocal weight and silver shimmer in her tone for the role.

Marie McLaughlin (Marcellina), Franz-Josef Selig (Bartolo), Patrick Henckens (Basilio) Oliver Ringelhahn (Don Curzio) and Eva Liebau (a pertly-sweet Barbarina) are all familiar to the production - each an asset in his own right. Adam Plachetka, made the most of his manic wall-smearing, soil-scattering Antonio, and Uli Kirsch returned as the Cherub.

Daniel Harding favors generally brisk tempi, but allows ample breathing space, with the Vienna Philharmonic in fine fettle as a perfect foil to their colleagues on the stage.