As the overture burst into life, it was immediately obvious that the Jeugd Symfoniearkest Rijnstreek of Leiden, augmented by musicians from Perm, was going to give the orchestra of Welsh National Opera a run for its money. This mega-scale, semi-staged production of Bizet’s opera was the latest creation of Oxford International Links, involving performers from five European cities.

It was perhaps inevitable that political correctness would creep in. Gone was the cigarette factory where Carmen gets into a fight, replaced by a Bonn Square beauty salon. Gone, too, was any suggestion of Don José being a corporal – thus neatly sidestepping any awkward thoughts about divergent European military policies. Topically, Escamillo had become lead singer of The Toreadors, en route to the Reading Festival, while dangerous Seville bandit country had turned into Reading Station.

All this meant that it was down to the performers to charge up the action, which they proceeded to do with unrestrained enthusiasm. The huge chorus, drawn from Bonn, Grenoble, and East Oxford, stood stock-still throughout, but you soon forgot the lack of action, so dramatic was the singing. Movement was left to a team of Perm and Oxford Youth dancers (choreographer Cecilia Macfarlane). Alas, I could only see their top halves from my seat, but the routines looked energetic. Among the soloists, Frida Osterberg sang strongly as Carmen, but didn’t radiate much sexuality. Louise Wayman was a suitably bashful, but steady-toned Micaela, Justin Lavender impressed as a rapidly maturing, tender José, and Quentin Hayes swaggered in tight red trousers as Escamillo.

It’s full marks to all concerned with this gigantic venture, but I must single out conductor John Lubbock. Not only did he keep the whole show on the rails, he also miraculously managed to achieve an ideal sound balance in the tricky Town Hall acoustic.