CLEVER and amusing miming during the opera's Overture set the scene for the European Chamber Opera's production of Rossini's The Barber of Seville.

Against an ingeniously simple set, enhanced by skilful lighting, the hilarious and quite ridiculous action unfolded.

Figaro (Giles Davies), now proprietor of his own seaside hydro in Edwardian England and attracting 'Ladies from Hackney suffering from acne', having become bankrupt in his barber shop in Seville, gave a masterful characterisation.

He was to help Count Almaviva, in love with Rosina, to trick Bartolo (Rosina's guardian), who planned to marry her himself. In return for helping him achieve his aim, Almaviva would wipe off all Figaro's debts!

In possession of a finely and evenly produced baritone voice Figaro was expressive both vocally and as an actor. His duets with Count Almaviva (John Upperton), a florid and much embellished tenor, were witty and sung with verve and much exaggerated humour.

Dr Bartolo (Graham Stone) described by Rosinni as a Basso-Comico, was exactly that: with a rich and sonorous voice, his diction was such that every nuance could be heard in his pompous portrayal.

Rosina (Ida Maria Turri) had a full middle vocal register, but lacked this quality in the higher one and was too shrill, however, in the beautifully written sextet at the end of Act One, she with the other soloists, produced some superb ensemble singing.

Other parts included Basilio (Kevin McRae), Fiorello (James Bierney) and Berta (Helen Whittington) who sang well and gave particular credence to this disciplined cameo role.

The small Chorus, Salvation Army-like, and joining gamely into the hydro cure, added more fun.

The orchestras, conducted by Emmanuel Siffert, was scintillating, adding greatly to the opera throughout.

This imaginative new English translation by Christopher Dickens and Ralph Oswick was obviously enjoyed by the capacity audience.

JILL HOPKINS