Give me a corporal's uniform and call me Don Jose. Yes, I am

as in love with the gypsy girl as the temper-ridden soldier in Bizet's exciting vision of Spain.

Tall, cool, blonde Swedish mezzo-soprano Anne Sofie von Otter is a wonderful Carmen. She is given a flame wig and a trademark red bustier to play the feral, independent and fiery Carmen, the best-known cigarette girl in the business.

She oozes sex-appeal, has a haughty manner towards men and a nicely observed, self-mocking sense of humour and, no, you do not want her to die.

Anne Sofie is only Glyndebourne's second Carmen (she follows on from Maria Ewing some years ago).

This is an earthy, passionate woman who will only love on her terms. And when she warns you that if you love her, you had better take care of yourself, you know she means it.

David McVicar's production, his first for Glyndebourne Festival Opera, is lavish and extravagant. It reeks of the hinterland of Spain. The heat and the dust are palpable and he tells the story straight.

He gives us no nude scenes, no bizarre stunts and there is no time travel. This is Prosper Merimee's story as told by the librettists and with Bizet's exotic and erotic music that still colours our view of Spain today.

This is a big, busy production with a hugely-talented cast.

Marcus Haddock's Don Jose is magnificently tortured. Is he in love with Michaela? Should he return to barracks duty? Should he go home to his dying mother? Or should he follow Carmen wherever that journey might end?

We know what he does but watching Haddock work it out is fascinating and his final descent into hell is mesmerising.

Anne Sofie is an actress par excellence. She becomes the role, she knows she is going to die but does she change her life? No way, Jose.

Lisa Milne makes a fine Michaela. This is a gentle role often thrown away but not here. This Michaela is a tough cookie with a strong voice and Milne stamps her own character distinctively on the show.

The singing throughout is exquisite. Anne Sofie has no rival but all the support is of an exceedingly high standard, right down to the large chorus.

In the pit, Philippe Jordan and the London Philharmonic Orchestra really do the business. They bring out all the nuances of the score, both light and dark.

The music for the tarot-card scene is strong and eerie and when Carmen deals the death card she, the musicians and the audience all hold their breath.

Indeed, this is a Carmen to take your breath away. It is shocking in its naturalism. The singing is deft and sure and not a foot is put out of place. McVicar has also restored all the dialogue and the French is impeccable.

Buy, beg, do whatever you have to do but do get a ticket. This is Glyndebourne at its very best.

For tickets, call 01273 913913.