Considering the potential gains of lucidity that translation might bring to Figaro’s complex plot it is surprising it has not appeared before in the rapidly expanding Opera in English series. Happily, the wait has been worth it. Even those who normally resist opera in translation should try it: Jeremy Sams’s lively translation is so refreshing in the context of a performance outstandingly well cast.

David Parry has established his Mozart credentials in earlier issues, and his timing of the comedy here is impeccable, aided by an imaginative and sadly unnamed continuo fortepianist. Though the overture is very fast, the clarity is remarkable – the chattering bassoon clearly audible, tribute both to the players and to the full, well-balanced recording. The balance with the soloists is excellent, too: words are clear, notably from the men, and the complex plot is well conveyed, even in such a passage as the incident of Cherubino and the chair or the denouement of Act 4.

Most of the principals have sung their roles on stage, which helps to bring the action to life. With words so clear it hardly matters that the timbre of Christopher Purves’s Figaro, William Dazeley’s Count and Jonathan Veira’s rather young-sounding Bartolo is relatively similar. In any case, the vocal acting of Purves and Dazeley clearly establishes each character.

Contrasts of timbre among the women are more distinct. Rebecca Evans’s warm, golden tone as Susanna might be thought to qualify her as a future Countess, who is firmly and clearly sung here by Yvonne Kenny. Her words are clearer than those of Evans; her warmth tends to mask consonants though her vivacious acting makes ample amends. ‘Deh vieni’ (‘Come quickly, my beloved’) is taken very slowly indeed but she sustains the line masterfully.

Diana Montague is ideal as Cherubino and Frances McCafferty is a distinctive, unexaggerated Marcelline. As Basilio, John Graham-Hall reprises the beautifully judged portrayal he gave on stage at Glyndebourne, amusing but not overdone.

His Act 4 aria is cut, as is Marcelline’s – an unfortunate loss, but one which only marginally detracts from an outstanding set.