The car-park picnicking at Longborough always seems more in the style of a point-to-point than an evening of grand opera. But that's Gloucestershire for you. "Happy birthday, dear father," sang a busload of revellers next to us, whose number and age range suggested a philoprogenitive disposition rare in these times. Then I realised that this was not a family party but a church outing; the perceived paterfamilias was a priest.

Perhaps the splendid production unveiled that night will have brought them rewards beyond the musical. Eager debate among the faithful might be encouraged, for instance, concerning the dying man's curse at the centre of Rigoletto's plot. It was this malediction beautifully enunciated here by Paul Keohone in the role of Count Monterone that led to the banning by the Catholic authorities of the Victor Hugo play on which this great opera, breathtakingly original in so many ways, was based.

Necessarily spartan in its staging in Longborough's theatre formerly a barn director (and designer) Richard Studer's production in some measure benefits from this by concentrating our attention wholly on the drama. With a driving pace set from the pit by conductor Jonathan Lyness and his slender but always effective instrumental resources, the action proceeds inexorably towards its distressing denouement. I have rarely seen a Rigoletto more touching in its climax, or better served by its principal singers. Craig Smith brought a fierce dignity to the role of the hunchback jester whose attempt to revenge himself on the heartless aristocrat who has seduced his daughter miscarries horribly. Jim Heath, a tenor with a free and fluid tone, swaggered most effectively as the lecherous duke, while Lurelle Alefounder turned in such an assured performance as Gilda that I was astonished to learn from her later than this was her first appearance in the role.

Rigoletto will be given again tonight and tomorrow and next Friday and Saturday. Box office: 01451 830292.