Oxford Philomusica's semi-staged performance of Don Giovanni had an extra protagonist: the orchestra itself. Usually relegated to the role of a mere accompanist, and hidden away in the pit, here the orchestra was given equal prominence with the singers, on the premise that Mozart's music forms an integral part of the narrative. So, did it work?

Well, on the whole, yes it did. Singers and players performed with a comfortable rapport, and achieved a high level of artistic and creative cohesion. Occasionally, the orchestra upset the balance with some over-enthusiastic crescendos, which drowned out some of the singing. The basses fared worst in this respect, with some of their lower notes being completely lost. The exception to this was Paul Reeves, whose powerful, masterly intonation of the Commendatore's lines dominated effortlessly.

Pietro Toscano, a late replacement for Andreas Macco in the title role, revealed a pleasantly sonorous and rounded bass, but his characterisation of the lecherous Don seemed a little restrained. His stage presence simply wasn't imposing enough, and his Giovanni not odious enough to give a true sense of just how monstrous this man is.

Luca Gallo, likewise a late replacement for Carmelo Corrado Caruso, made a better job of Leporello, delivering the famous 'catalogue' song with relish. Mark Milhofer, a tenor who never fails to impress, sang Ottavio with great sensitivity and tonal beauty; his rendition of Il mio tesoro intanto, in which he sings of his love for Elvira, was particularly sublime and heartfelt.

Among the ladies, there were some thrilling performances from Ann Liebeck as Donna Anna and Simona Bertini as Donna Elvira, both giving full soprano clout to these much-wronged heroines. Anna-Clare Monk was a sweet and charming Zerlina, but could have been much more flirtatious and coquettish when trying to wheedle forgiveness from Masetto. Overall, though, this was an exciting, dramatic and thoroughly absorbing performance, which held the audience spellbound throughout.