While this production has seen all the current leads perform their respective parts since the 2015 premiere, this latest run introduces a new constellation, led by Ambrogio Maestri in the title role.

In pure vocal terms Maestri’s ample baritone is a touch bland in comparison to some interpreters in the more buffo league (with Sir Geraint Evans my most memorable to date) but the Italian star shines with his nonchalant stage work and an exemplary sense of crisp rhythm and pointed delivery of the text, creating a highly-imposing and sympathetic character. His stage toupee here has a life all of its own - but one which its skilful owner restrains with understated, masterly, control.

Valentina Nafornita is currently the only member of the original cast - with Irina Brook’s delightfully-conceived Norina less astringent than in some concepts, here slickly cushioned in an obsession with the colour pink, which blossoms to ultimately dominate props and sets like a kind of personal “Leitmotiv”.  Nafornita has retained her sprightly, energetic showing and featherweight figure - while alas falling increasingly foul to a muddying of vowels and diction - and subsequent weakening of the character (which, incidentally, was pruned of any interpolated options in stratospheric vocal heights).

Dmitry Korchak’s Ernesto was the surprise of the evening - here devoid of the blemishes which have tainted some past readings in the house, and combining effortless ringing tone with stylish phrasing and a seamless dynamic range to eclipse some interpretations extending beyond this current Vienna production. Full marks too to Bernhard Pronebner’s trumpet contribution in Ernesto’s Act 2 recitative and aria. 

As Malatesta, Orhan Yıldız cuts an appealingly dashing figure - with his finely-tuned baritone and easy stage demeanour guaranteeing a nicely-rounded showing, if one just a touch small-scaled in certain moments.

Ramón Tebar conducted with esprit, style, and well-balanced tempi, but on occasions overestimated the vocal prowess of a cast subject to the unrelenting demands of Irina Brook’s colourful staging - indeed, oddly culminating in a rather cursory finale which was somewhat lacking in zest.

The Don’s two lackeys, Eduard Wesener and Tobias Perzl, as well as Norina’s maid, Waltraud Barton, deserve special mention for their discrete but vital contributions.