A welcome return for Laurent Pelly’s double bill of Ravel’s contrasting operas: the former a bawdy farce revolving around the lusty appetites of a young wife; the other, a morality tale for badly-behaved children.

At the heart of both productions is Danielle de Niese, just two months after giving birth to a baby son.

She sparkles in both roles: as the seductive clockmaker’s wife in L’heure and as the naughty, eponymous child in the second-half of the night.

The latter is infinitely more beguiling; not only is there a richness to Ravel’s orchestration – dazzlingly brought to life by the London Philharmonic Orchestra under Robin Ticciati – but Pelly’s inventiveness is seen at its best.

From the talking wallpaper, beautifully sung by the Glyndebourne Chorus, to the double act of teapot and cup in pidgin French and Chinese, courtesy of François Piolino and Elodie Méchain, L’heure espagnole is a light appetiser for this richer fare.

Despite de Niese’s alluring Concepcion and great support from Cyrille Dubois as a pretentious poet and some excellent farcical acting, it doesn’t quite catch fire. Maybe it’s down to Caroline Ginet’s over-elaborate set.

Barbara de Limburg’s realisation of Pelly’s vision is an object lesson in how all the elements of an opera can come together.

Three stars/Five stars