The fixed coliseum façade set she has adopted didn't seem out of place in ancient Peking with terracotta army figures and heads of Turandot's would-be suitors adorning to it to give local colour.

There was not much weaponry on show, what was there looked, as usual, like it was made from stiffened cardboard and, speaking of stiffness, the chorus was generally its usual, collective zombie-like self (especially the men), although they sang magnificently.

Painted faces and exotic headgear (except Turandot's) were out, but why give the Mandarin (Herald) an undertaker's top hat? Why make the ancient Emperor Altoum a figure of fun? – as out of place dramatically as the three courtiers Ping, Pang and Pong being the wise men in the riddle scene.

Musically, the trio's scene at the beginning of act two was abridged which robbed us of Ping's lyrical, 'homesick' interlude, while the three singers in the roles were vocally sound, if rather dull.

Galina Bernaz didn't really have the necessary vocal reserves for Turandot: In questa reggia was a brave effort, but the open top Cs were not there, just attempts at them, but she is young and her well-schooled, quite powerful voice could well grow into the part if she doesn't burn it out in the meantime.

Overlooking virtually non-existent acting ability, baritone-toned tenor Irakli Grigali had the voice for Calaf, though it could be uneven.

Nessun dorma, which he just stood there and sang as if it was a concert performance, was his finest moment.

Irina Vinogradova is a lovely singer and her Liu went close to stealing the show if only because her involvement in it reached out and drew the audience into her plight.

Gheorghe Stanciu's conducting generated considerable excitement and his orchestra played superbly.

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