In many ways, La Finta Giardiniera is the ideal Glyndebourne opera.

The house, set in vast gardens and next to the country home of John Christie, prides itself on its Mozart productions and La Finta Giardiniera translates as The Fake Gardener.

Yet a new production by Frederic Wake–Walker (also making Glyndebourne Festival debut) will be the opera house’s first attempt at Mozart's opera buffa, or comic opera, as it is performed in the house’s 80th anniversary year.

One reason it has never been done is until the late 20th century there was no complete libretto.

Another reason is the German virtuoso wrote it in his late teens and it premiered two weeks before his 19th birthday.

As a result, La Finta Giardiniera has sometimes been thought immature – and involved.

Not a bit, says Wolfgang Ablinger–Sperrhacke, who is singing the role of Don Anchise in this new production of La Finta.

“It has insights into the human character which is nearly anticipating Sigmund Freud,” he explains.

“It’s amazing how the characters are portrayed and also unbelievable how an 18–year–old could have had such an insight into the difficulties of human love.

“Also, all the twists which can occur when you love the wrong person – that is something which always amazes me.

“That someone at 19 can write something like that is incredible”

Ablinger–Sperrhacke first performed La Finta Giardiniera as a 23–year–old when he was a student in Vienna.

As such, he knows the piece inside out.

“It is wonderful to revisit this piece and be the exact age of the role. I was far too young before because it should be middle–aged guys singing.”

He calls the music – in a story of seven people looking for love, classy, “like Mozart's master operas, The Marriage Of Figaro and Don Giovanni,”.

Everyone loves the wrong person apart from Contino Belfiore and the Marchioness Violante Onesti, Sandrina.

The unrequited love and interchanging hopes and dreams is what some say makes for a convoluted plot.

But the team behind Glyndebourne’s first production of the opera has made cuts to “give it a good flow,” says Ablinger–Sperrhacke.

He also points to the well–drawn characters as a highlight.

“It is his first real masterpiece, where he really takes a step which is so much further from the operas that came before.

“He should have been 50 when he wrote it, the way he portrays the different characters.”

There are only seven singers. There are no actors and there is no chorus.

“It also has a little bit of a Strindbergian feeling, like a chamber play. It is intense, and the reason why it is like that is in rehearsal we’ve really explored each other and it is something the public will see.

“We have grown together as an ensemble. Of course everyone can shine in their arias, but nevertheless it’s an ensemble piece we all present.”

There are big set surprises which “will play with people’s expectations and assumptions... and whether what they are seeing first is real or fake.”

It’s a key point – reflecting the title and themes. “It is about the assumptions we make and the assumptions the characters make.

“I can’t understand that she doesn’t love me and why the one woman who would love me I don’t really appreciate.