The Tempest at Covent Garden

I saw Thomas Ades's opera when it was new three years ago and was sufficiently impressed to want to see it again. I think I enjoyed it even more this time.

The musical style is modern but often lyrical (more Britten than Boulez). There is some extraordinary writing for the high soprano part of Ariel (think Queen of the Night, think Zerbinetta and then some). There are also some wonderful set pieces including a fine love duet for Miranda and Ferdinand to end Act II and a stunning quintet at the end of the opera.

Criticisms of the work? Apart from one or two memorable lines, the librettist Meredith Oakes eschews Shakespeare's language. Mostly this works pretty well, although the constant rhyming couplets do sound a bit twee. I also found some of the orchestral accompaniments a bit fussy and over-complex, particularly in the first act. But make no mistake, this is a fine work from a major talent and is in every sense a 'proper' opera.

The cast was led by Simon Keenlyside as Prospero. The part is not an easy one, taking the singer to both extremes of his vocal range but Keenlyside carried it off with vocal aplomb - at times sounding almost like a Wotan in waiting.

Cyndia Sieden has made the part of Ariel completely her own and this was another virtuoso performance. As well as all the high vocal fireworks she also sang a beautiful line in her more gentle solo.

Ian Bostridge is not one of my favourite singers but in Caliban Ades has created a role that suits his rather odd vocal style and stage appearance very well.

Other parts were taken by such distinguished singers as Philip Langridge and Jonathan Summers. The only weak link was Donald Kaasch as the 'baddy' Antonio - he had a tendency to shout.

The young lovers were played by Toby Spence and Kate Royal who both looked gorgeous and sang ravishingly: their duet was one of the highlights of the evening.

Ades himself conducted and the orchestra played superbly.

The production was by Tom Cairns. A basically simple set was used to imaginative effect and there was much scope for Prospero's magic (the imprisonment of Ferdinand, the magical banquet made inaccessible by fire).

A brilliant evening and a delight to see that high quality new opera can be produced in the twenty first century.