The setting is only half successful. Christopher Alden puts it in 1920s Surrealist France. Partenope is a rich society belle chased by various young suitors; her rival Emilio (John Mark Ainsley) is Man Ray, on the prowl with his camera to expose (geddit?) with his flash (geddit?) people's inner desires and dreams. Visually it's great; intellectually there's plenty to talk about; but in terms of allowing the plot to make sense, it's underdeveloped and out of focus. If this were a pre-digital photo back from Boots, it would have a quality-control sticker on it. (How do the battles and armies fit in? They don't. And why the toilet? Still, some people thought the trick with the Andrex-puppy mountain of toilet paper was well funny).

Nevertheless, you should go and enjoy this rare delight, because a lot of the singing is fantastic. The normally superb John Mark Ainsley (Emilio) was fine but his tenor seemed to lack a sparkle on the opening night. Rosemary Joshua, as the magnetic Partnenope, coped superbly with the immense vocal challenges, challenges most evident in the fast and intricate lines of Act I.

Partricia Bardon's Rosmira/Eurimene, that female drag act with a comedy handlebar moustache that could control a Dutch bike, was just great, acting wonderfully and in mighty voice. And thoroughly dazzling was Iestyn Davies, whose gorgeously clear counter-tenor is a real discovery. His stone-faced, Keatonesque comedy acting was delightfully done. Most impressive of all, perhaps, was Christine Rice's outstandingly-sung Arsace, an absolute joy to hear, with gender thoroughly and convincingly bended.

A tip of the hat is also due to Amanda Holden's English translation. Racy yet right in style, inventive, witty, and thoroughly singable, it's as fine an example of the wordsmith's craft as Handel's score is of the baroque composer's. Keep an eye on those surtitles and enjoy some smart rhymes.

Yes, three hours of opera-seria Handel is not for the faint-hearted. You may feel you need the patience of a god to sit through the interminable plot and questionable setting, but with such super singing, engaging acting, and quality music, baroque fans may well feel that you can't get too much of a good thing.

Rob Ainsley