Almost from the start, I was reassured by tenor Farasin, whose full sound and willingness to take chances are attractive, despite his lack of subtlety and occasional shoutiness. Colombara is a game, engaging Méphistophélès whose demonic malice reveals itself only gradually, to good effect, and his singing is on the money most of the time.

Matvejeff conducts fluently and is especially effective in the more lyrical passages. But he fails to conjure up the necessary excitement or tension in certain key early scenes…Colombara is a woolly, avuncular and rarely threatening devil but I find myself warming to him nonetheless – a strangely likeable Méphistophélès…Diana Haller is a charming Siébel, whose ‘Si le bonheur’ is a highlight. Marjukka Tepponen makes a youthful and moving Marguerite.

The playing and singing of the choral and orchestral forces is excellent and well on a par with what more prestigious opera houses can deliver.