The Wiener Kammeroper is pursuing a tradition that was set in motion post-World War 2 by Hans Gabor in which an intimate setting provides up-and-coming singers (including Eberhard Waechter, Walter Berry and Angelika Kirchschlager to mention just three predecessors) a springboard upon which to test their mettle, often (but not exclusively) in rarely performed repertoire - in addition to providing operagoers in Vienna with a valuable alternative to the larger establishments.

The house and its new ensemble are now in association with the Vereinigte Bühnen Wien as an umbrella organisation - and more specifically with the Theater an der Wien which in recent years has earned its position as a respected third pillar in Vienna's opera scene, and where members of the new ensemble can work also alongside more established colleagues to further their experience (as in the recent Il trittico production).

Rossini's La cambiale di matrimonio is an excellent choice to open the season, providing a rare opportunity for audiences to savour Rossini's first stage work (originally premiered in November 1810 when the composed was just aged 18), as well as challenging the young artists involved.

The piece is charmingly produced, updated to the silent movie era and the heyday of transatlantic steamers (a fitting vehicle for the voyage from Canada to Europe of the wealthy hopeful husband-to-be, Slook - as well as for Fanny and Edoardo's subsequent honeymoon departure).

"Mill's" storeroom, filled with shelves of labelled cartons, is the basic setting (designer, Nikolaus Webern) for the one-acter, deftly providing a variety of access points as well as vertical interest via ladders to the upper storage levels. The work-routine scene and nest for Fanny and Eduardo's trysts is dramatically invaded by a steamship's imposing bow and the swaggering arrival of Slook who believes that money can buy the world - including the focus of his desire, young Fanny Mill.

The work is really quite clever, and testament to Rossini's particular affinity with comedy and his remarkable ability to orchestrate, construct a line, and infuse his libretto with effervescence. Tobia Mill, propietor of "Mill's" and father of Fanny, is a demanding baritone buffo who should be of an age corresponding to the plot. Igor Bakan's rather portly figure is here an asset, and the combination of a natural comic talent, stage confidence, and ample vocal tone did much to belie his youth.

As Fanny, Anna Maria Sarra was a pert and artful foil to her father's plans, and gets her man in the end. Her lyric soprano and technique possibly hint more at verismo than bel canto (she is also scheduled for the forthcoming Kammeroper La bohème), but it would be inappropriate to pigeonhole at this stage.

Andrew Owens has just the right style and vocal quality for Rossini and did well as the (almost) thwarted lover and husband-to-be.

Slook is a tricky role to pull off. It requires a Figaro-like (Il barbiere) combination of qualities which, when mismanaged, risk slipping into a parody of a vain buffoon. The Australian baritone Ben Connor created a credible figure, who - despite his bombastic swagger - wins the audience's sympathy.

Gaia Petrone (who caught my attention in the recent Theater an der Wien Il trittico with her imposing stage presence and cultivated mezzo) here demonstrated an appropriate sense of style, vocal culture, and an evident ability to make a cameo out of Mills' housekeeper, Clarina.

Oleg Loza was a nicely underplayed Norton - almost deadpan in expression - and with an agreeable bass-baritone bearing promise for his forthcoming Schaunard in the house.

The evening's weak link lay in the pit where the Wiener Kammer Orchester (under the baton of Konstantin Chudovsky) was generally over- ambitious in volume - indeed hectoring at times - and perhaps partly responsible for any tendency among the cast to aim for volume rather than variety in dynamics. Top marks, though, for the immaculate intonation in the horn section.

Jacopo Spirei's direction made for a compact and lively evening, capitalising on a flexible young cast whose whose enthusiasm and energy crossed the footlights to be well-rewarded by a capacity audience.