first staging in 1995, and now returns to the Royal Opera House directed by Daniel Dooner (although the presence of Miller at the first night curtain calls suggests he might have had a hand in the changes). Set in a world of suited city boys and power females, the production is at pains to move with the times.

The set remains daringly simple. Swathed in dustsheets, piles of cushions littered around, it is a study in imperfection. This world and its characters are a work in progress, constantly forming and reforming. The mirror that occupies centre-stage throughout is a touchtone for the characters of a work in which seeming and being, seeing and perceiving are two very different things. Self-regarding vanity and fascination with image is played out in the constant preening of the women and the childish posturing of the men, who prance and pose in front of the mirror with their new outfits and toys of war.

Despite more than a few moments where stage and pit (under the direction of Julia Jones, making her ROH debut) parted company, the quality of the music-making was generally strong. Singing with understated control and perfectly pitched dramatic intention, William Shimell was the heart of the production as the scheming Don Alphonso. Matched parry for parry by Helene Schneiderman’s world-weary and technically impeccable Despina, this was a partnership in danger of eclipsing the younger lovers for sheer dramatic poise.

Stronger than their male counterparts, both Sally Matthews (Fiordiligi) and Nino Surguladze (Dorabella) tackled their contrasting roles with success and charm. Vocally secure as ever, Matthews’s portrayal of Fiordiligi was mature in its dramatic control. Set against the doe-eyed and loveably coquettish Surguladze, the intimacy of the partnership worked well.

While nothing was especially wrong with the Charles Castronovo’s Ferrando or Troy Cook’s Guglielmo, neither entirely succeeded in transcending their extreme costumes (as hippie and metal-head respectively) and projecting much in the way of character.

Castronovo’s dark-toned voice was pleasant, but tonally a little unvaried and his “Un’aura amorosa” was competent, but unexciting. Cook’s Guglielmo was stronger in comedic ensemble scenes that in his arias, bringing insufficient charm or vocal presence to his seduction. This revived production has lost none of its youthful energy and sparkle. With its irreverent approach to recitative and intelligent and allusive direction, it remains the poster-child for non-traditional staging.

Until February 17. Tel: 020 7304 4000 (www.roh.org.uk)