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Lise Davidsen as Elizabeth of Valois and Brian Jagde as Don Carlos © Bill Cooper

The last revival of Don Carlo at ROH six years ago showed how a production can become a dispiriting ghost of its former self – I referred to it at the time as ‘diluted’. So it is good see that this fourth repeat of Nicholas Hytner’s original staging, not thrilling in the first place, gains some zest as revived by Dan Dooner. The religious and intimate scenes maintain atmosphere, the public scenes rather less so in their garish and often two-dimensional scenery, although some of the colours have been toned down and are now less Teletubbies if hardly El Escorial. But the overriding impression is that it looks cheap and stagey.  So, credit to the new cast for galvanising the show into life.

Bertrand de Billy conducts a generous and large-boned reading of the score, with some excellent woodwind playing. The singing is equally grand. Brian Jagde’s Carlo is stentorian and focused once he’s past a slightly shaky opening aria and he depicts a serious young man rather than the neurotic Rolando Villazon of 2007’s new production. Matching him for dignity is the Elisabetta of Lise Davidsen, who has developed into a moving actress. Her soprano is of great magnitude with her middle register having the rich resonance of a firmly struck bell. But she also produces some delicious pianissimi and in her great Act V aria displays a wondrous messa di voce. Her performance will go down in the history books. Yulia Matochkina’s Eboli is suavely-voiced with well-integrated registers, sensibly avoiding too much chest tone and perhaps only lacking a touch of thrill at the very top.

Act I, Don Carlo © Bill Cooper

Luca Micheletti is Rodrigo, a pleasingly old-fashioned bel canto baritone with a controlled vibrato, immaculate phrasing (notably taking the verses of his death scene in one breath each) and a miraculous trill. He is a touch pushed in his argument with Filippo but otherwise excellent and a very detailed actor. But anyone would be cowed by John Relyea’s cavernous bass as the King, matched by noble presence and the ability to let his regal mask slip and then regain dignity. Taras Shtonda is a suitably alarming Grand Inquisitor and Alexander Köpeczi a sonorous Carlos V. Ella Taylor’s Tebaldo is the right side of sprightly and Sarah Dufresne a pure Voice from Heaven, her soprano wafting down into the auditorium from above. Despite the odd cavil it is an excellent cast that elevates the production to high levels of excitement and an ecstatic audience responded in kind.

Until 15 July. www.roh.org.uk