Giles Woodforde on the triumphant return production from the Longborough Opera

My neighbours at Longborough Opera are back after a year’s absence, they tell me. Last season’s Wagner Ring cycle was not for them, but Rossini’s frivolous and frothy Barber of Seville? That’s a different matter altogether.

The omens look good from the start, with conductor Jonathan Lyness unveiling a sparkling, soufflé- light account of the overture. Direc-tor/designer Richard Studer’s sets look good too: the first act features an elegant city square dominated by a nude male statue — his endowments soon get used as a saucy clothes hook. Up above a light shines through Rosina’s bedroom window. But there’s no sign of the lady herself, much to the disappointment of Count Almaviva, quivering with anticipation outside.

Soon Figaro the barber arrives. Setting off with a swaggering account of Largo al factotum (or “Make way for the factotum” to be precise, the production is sung in English), Grant Doyle’s Figaro has no problem immediately attracting attention and money: people shower cash upon him, even before he bothers to unpack his razors and scissors. Doyle sings with great assurance, and a knowing sparkle in his eye. This Figaro is none too subtle about the way he carries out his wheeler-dealing.

Powerful, too, is Australian mezzo Helen Sherman as Rosina. Tall and regal, Sherman’s Rosina is not to be messed with: her voice takes on an air of icy calm when occasion demands. The slight wonder is that she can be bothered with Nicholas Sales’s hilariously observed, but somewhat dim-witted Almaviva. Adrian Powter and Julian Close are strong in support as a snide Doctor Bartolo, and a creepy Don Basilio.

Some directors go in for more comic business, but as an entertaining, well-sung, and clearly delivered Barber, this production is hard to beat.

The Barber of Seville
Longborough Festival Opera
Again tonight and July 18
LFO open day Saturday, July 12, 2.30-5.30pm, £5/£3
Visit www.lfo.org.uk