Peter Hall is a rare and shining example of a thoroughly modern producer who takes unusual care not to jettison the baby along with the bath water. Aware that no designer can completely escape his own time, he is nevertheless more keenly conscious of the need for historical feeling, and with John Gunter, has achieved a brilliant fusion of contemporary relevance and late-medieval mores in his new production of Boccanegra at Glyndebourne.

With the exception of Elena Prokina - in her soaring element as Amelia - few of the singers are yet world-class voices. But the rigorous individual coaching and intensive ensemble rehearsal that are the keystone of Glyndebourne's artistic policy make for performances that are not far short of that distinction - while Mark Elder's passionate reading of the score confirms the urgent conviction of every note. The final duet between Fiesco (Alastair Miles) and Boccanegra (Giancarlo Pasquetto) for instance, could hardly be bettered in its moving sincerity and there is an outstanding study of Paolo Albiani from Peter Sidhom, who for once makes the man's villainy comprehensible, if not commendable.