LONG before retiring from the world of opera and living almost four decades as a Parisian social lion and indolent gourmet, Rossini had composed what is considered the greatest of comic operas. And, thanks to the Armonico Consort under Christopher Monks, it is easy to see why this most enjoyable and lovable music has always been in the repertoire.

An enthusiastic Courtyard audience was happily drawn into a world of wit. A handful of expert singers handled Rossini’s sometimes cruel vocal lines superbly, with vivid orchestral colour (typical of Rossini’s superb orchestration) in The Barber of Seville.

Using a new English translation by Amanda and Anthony Holden, the main characters carried us non-stop along a riotous path, sometimes with audience participation, adding a great deal to our enjoyment. Mr Monks’ harpsichord recitatives added much to the charm of the music.

David Craig’s startling but very effective staging consisted almost entirely of a huge guitar case. All the voices were excellent but I particularly enjoyed Martin Higgins’ Bartolo, Tom Lowe’s Figaro and Doreen Curran’s Rosina.

Mike Channon