SO much of opera’s canon has been produced before that ghosts of previous stagings hang over the heads of directors and stars.

But Donizetti’s Poliuto is a rare exception. Despite being more than 175 years old, the musical tale of early Christian martyr St Polyeuctus has never been performed in the UK before.

“It’s wonderful to do a piece where no-one in the room has been part of it before,” says Seaford-born bass Matthew Rose, who plays the High Priest of Jupiter Callistene.

“It’s fresh for everyone, and is a different experience as a result.”

Poliuto was never even performed in its entirety in Donizetti’s own lifetime owing to its controversial gestation.

The production he was planning to stage in Naples following the success of his Lucia di Lammermoor was prevented by Ferdinand II, who ruled the Kingdom of the Two Sicilies. He declared the histories of the martyrs were venerated in the church, and should not be presented on the stage.

The decision led to Donizetti leaving Italy for the Paris Opera, and reworking elements of Poliuto into his 1840 opera Les Martyrs. Poliuto was only performed in its original Italian three-act version in 1848, more than six months after the composer’s death.

For this UK premiere director Mariame Clement has turned the original religious battle between Christianity and the Roman gods into a political conflict.

“It’s the Jupiter political party,” says Rose. “I’m acting on behalf of the politicians who want to rule the country.

“As a character Callistene is interesting – there’s not much information about him. He’s the one throughout the opera who wants death and gloom. In rehearsal we talked about dictators like Hitler.

“The situations have relevance time and time again. It’s human beings at their worst.”

For this return to Glyndebourne, where he gained critical acclaim in 2006 playing Bottom in A Midsummer Night’s Dream, Rose is also starring in Fiona Shaw’s take on Benjamin Britten’s The Rape Of Lucretia.

“We start rehearsals two days after the opening night of Poliuto,” he says. “We have 12 performances during the rehearsal period. I think I’m going to find a yurt somewhere and put it up in the gardens.”

Both Donizetti and Britten are staples of his performance CV.

“Both are brilliant writers who understand drama and text,” he says. “It’s a privilege to perform their work. As a student I used to go to Aldeburgh to see Britten’s work. And I’m doing more and more Donizetti. I love being part of great work – even if the role isn’t big, it is the overall piece which attracts me.”

Seaford-bred Rose was 21 when he first visited the opera house.

“I did go for a role in The Magic Flute when I was 12, but I didn’t get it,” he says. “I’m glad, maybe things would have turned out differently.

“When I was at Seaford College I used to sing in the choir. A new teacher came and asked if I’d thought of singing as a career – I’d never thought I was any good!”

He studied at the Curtis Institute of Music in Philadelphia, before being taken on the Young Artists Programme at the Royal Opera House in Covent Garden in 2003.

His career has seen him perform at the Met in New York and La Scala in Milan, but he enjoys coming back to Glyndebourne.

“It’s a wonderful environment,” he says. “I remember the summer I first appeared it was 35 degrees and sunny every performance. I was living in Seaford at the time so lots of friends and family came down. This place is unique – I’m very proud that this is something on the doorstep where I grew up.”

Poliuto Glyndebourne, Glynde, near Lewes, Thursday, May 21, to Wednesday, July 15