As the overture begins, a shabby, tattered curtain hangs at the front of the stage, mirroring Angelina’s depressing existence.

By the end of this Cinderella story, as she walks to the throne in a golden gown to marry the prince, and harmony reigns, this clean slate is carried through to a new stage curtain, showing Glyndebourne’s attention to detail.

Rossini’s dramma giocoso commences in a dilapidated home where Angelina, played by confident Canadian coloratura Allyson McHardy, is a frustrated soul wanting to sing wistfully about a king marrying for love.

She is repeatedly cut off by her blustering father and domineering stepsisters, clad in grubby underwear with greasy topknots on their wigs, Anna Siminska and Victoria Zaytseva revel in their roles with a nice line in expressive frozen horror.

Don Magnifico is a sentimental buffoon, winding up his daughters until they seethe in awkward embarrassment. Jonathan Veira relishes the part, eyes bugging outwards like Rodney Dangerfield at Dandini’s revelation that he is a valet in disguise, not the prince.

All eyes are drawn to Alidoro, the prince’s mentor, who spends much of the production observing events unfold. It isn’t just because Paul Whelan is a foot taller than the rest of the cast: his intent focus makes him fascinating to watch and listen to.

Keith Benson’s lighting design shifts between general cover and harsh uplighting: as the protagonists writhe, sensing an earthquake, or entwine while singing about their tangled knot, the staging is jarringly non-naturalistic.

Overall, though, this delightful production is a treat.