You can’t go wrong with Don Giovanni. Just as well, as Mozart’s ever-popular but problematic opera is so hard to get right. Happily, Jonathan Kent’s production returns with some of 2010’s problems solved.

The individually wonderful cast are really fabulous as an ensemble, making the inter-play of the characters a highlight. Elliot Madore’s deliciously handsome Don Giovanni is full of passion, cheek and charm.

Giovanni’s recklessness is egged on by conductor Andrés Orozco-Estrada’s fantastically zippy tempo, eroticism spilling out during the slower passages. But, as ever, the question remains: what to do with the big dead fella?

In the second half a huge, hydraulically operated open grave dominates which, though impressive, adds little dramatic excitement and rather blows the gaff on how the Commendatore is going to arrive for supper.

Like the production, the cast don’t seem to know what to do with death either – one of a few moments of rather baggy direction. When hell coughs up Don Giovanni’s mortal remains, everybody seems to wait for a musical cue before they notice.

However, Layla Claire, as Donna Anna, sends shivers around the auditorium and her magnificent voice raises proceedings to the sublime in time for the final curtain.