Verdi’s pre-censored Swedish version of Un Ballo in Maschera was chosen for this new production - featuring Rodula Gaitanou and her team which included designer takis, lighting designer Simon Corder and choreographer Steve Elias.

An expansive wood-panelled wall spans the broad Holland Park stage throughout - surprisingly up-stage and claustrophobic in position, but folding out (rather like a doll’s house) to accommodate and provide a certain depth, as required.

The opening male chorus is presented during a fencing class - visually effective, but with weapons untempered and contributing a cacophony of rhythms which clash with the score. 

Naturally, there is no cauldron nor fire for the Fortune Telling scene - but an iridescent flash, nevertheless, at one point for Madame Arvidson, followed by an alarming psychiatric ward (complete with syringe and magic potent) for Amelia - which includes a violent silhouette scene of a patient’s demise at the hands of a medic.

Overall, and despite the above-listed surprises, a certain blandness pervades this production - placing an emphasis on the musical side of the event for its success. 

Heading the cast, Matteo Lippi brought the appropriate vocal colour and ring to Gustavo, deftly cruising Verdi’s demanding lines with an easy range and adequate stamina to well-sustain the show. A layer of icing to crown an already competent performance would have featured more mellifluous phrasing, and a touch more definition in character.

Amelia was taken by Holland Park favourite, Anne Sophie Duprels, who well-paced her essentially-lyric soprano to provide a variety of light and shade - as well as a good measure of passion - to nail her committed and winning interpretation.

George von Bèrgen’s Anarkström seemed intent upon dominating through decibels rather than tonal quality and vocal line - remaining largely overblown and blustering (and ultimately frustrating) in this so potentially-rewarding Verdi part.

Fortune Teller, Madam Arvidson was portrayed in almost caricature mould - strikingly costumed, with head attire fit for Ascot, and vocally presented (Rosalind Plowright) with camp abandon that only an acclaimed septuagenarian with an artistic legacy can carry off.

While Oscar’s gender remained oddly ambiguous throughout the evening, Alison Langer’s interpretation bubbled with personality (at times, perhaps a touch over-intrusive) - and encompassing a well-schooled lyric soprano with touches of metal in her upper reaches which hint at heavier repertoire awaiting in the wings.

Three particularly strong supports in Ribbing (Benjamin Bevan), Horn (John Savóurnin), and Cristiano (Ross Ramgobin) complimented the leads.

Matthew Kofi Waldren drew many fine moments from the City of London Sinfonia, while maintaining tight co-ordination between pit and stage throughout, and showing promising potential. 

Act 3’s finale brought an impressively-choreographed ball scene, opulently costumed, and with the Opera Holland Park Chorus wonderfully rising to the occasion and - ultimately - claiming the highlight of the evening’s performance.