The stage set is breathtaking…I can guarantee that you will ever have witnessed as surreal a ‘La donna è mobile’ (Gilda should have run a mile), nor a wet a storm scene. All this carnivalesque spectacle comes at a price, however, and that is emotional impact. Stephen Costello as the Duke and Melissa Petti (a young singer to listen out for) as Gilda are both extremely easy on the ear: well-matched in vocal agility and timbre, Unfortunately, coping with the physical demands of the set rather puts paid to any sort of convincing romantic connection between the two.

It’s perhaps inevitable that in an openair venue such as Bregenz – essentially arena opera with an audience of 7000 – the emphasis has to be on a spectacular production. But it would be wrong to overshadow the singers here, who do an amazing job under such physically demanding conditions. Vladimir Stoyanov is excellent as Rigoletto, his oaky baritone not unlike the great Leo Nucci… A most enjoyable production and performance, even if clowns do give you the heebie-jeebies.

An unusual but gripping version of a favourite opera, musically first-rate and with eye-opening staging.

Vladimir Stoyanov’s Rigoletto is wonderfully played, moving in the extreme, and beautifully sung. His baritone offers golden tone and legato that also remind one of singers of yore. Enrique Mazzola’s conducting is pacey and confident