A new dawn at ENO?

Is ENO moving into a new era? Of late, the only secure answer to that question has been a non-committal shrug. But something is stirring.

The first night of David McVicar's new staging of La Clemenza di Tito provoked a buzz of anticipation long absent in this auditorium. The ingredients - strong cast, reliable director, new translation by Amanda Holden, new conductor with a promising pedigree - raised hopes.

They weren't dashed. On the contrary, nearly everything worked, starting with the impressive musical content. Roland Böer, Kapellmeister at Frankfurt Opera, knows how to pace Mozart on stage.

Completed weeks before the composer's death in 1791, the work can drag. A series of stunning arias are linked by a dramatically flawed plot and unconvincing characters. When was clemency, if predicted by the title, ever sexy?

But Böer let the music breathe freely and drew sensational, supple playing from the orchestra, notably the conspicuously busy clarinets. His rapport with the singers was evident. Musical risks paid off - an impromptu pause here, an extreme pianissimo there - without wrecking the ensemble, helped by the astute cello and harpsichord continuo.

La Clemenza centres on the improbably hysterical Vitellia, here sung by Emma Bell, making her overdue ENO debut. She thrillingly negotiated the role's huge vocal range and was explosive at key moments.

Sally Matthews, Neal Davies and Stephanie Marshall excelled in smaller roles, with Paul Nilon dignified and intelligent as the big imperial softie, Titus. But highest praise goes to Sarah Connolly's Sesto.

Already turning heads this season as Dido, she sounded better than ever, vocally in glorious full-flight, dramatically affecting.

The production, though good on characterisation, was a bit of a muddle. Yannis Thavoris's abstract designs embraced a range of references from an Egyptian false door to the Jantar Mantar observatory, Ogham tracery, Kabuki sticks and Richard Serra sculpture.

If the aim was to match the on-stage emotional turmoil, it scored. But finally the endless shifting and circling of curved screens yielded diminishing returns.

That said, this was an exhilarating evening. If ENO continues at this level, recovery is certainly on the cards.

Until 8 March. Information: 020 7632 8300.

La Clemenza Di Tito