Rumour has it that this new production might mark the start of a fuller Offenbach revival. If so – fantastic. Offenbach is lamentably underperformed in England given that his musical prowess is closer to Rossini than Sullivan. When this musicality is added to a vibrant new translation of La Périchole by Jeremy Sams, who also directs the piece, it could not fail.

One of the distinct benefits of the new Opera Pavilion at Wormsley is the closeness of the acoustic and the ease with which the text carries. If Naomi O’Connell’s rich Irish accent in the title role took a short while to get used to, all others rang clear as a bell, with every word from Simon Butteriss a gem. He not only sings with aplomb but knows the importance of carrying the text with equal weight.

It was easy to see why the work is not familiar on the amateur circuit. It requires a large cast, all of whom need to be excellent singers. When one considers that Diana Montague was one of the three cousins, all of whom were equally fine, the point is made.

Robert Murray was a lyrical Piquillo, who made his drunkenness amusing rather than off-putting, and created just the right level of tension with the aristocracy. Geoffrey Dolton’s Viceroy was only too aware of the knife-edge he trod in a banana-republic which could explode at any moment.

That the work, necessarily, has a happy ending does not ignore the social commentary along the way.

Jeremy Sams’ production and English version make for a delightful evening, and are buoyed up by David Parry’s warm support from the pit. Francis O’Connor provided a set which proves that naturalism can fit comfortably on an open stage, and the late evening sunlight on the first night was a welcome, and distinctly effective bonus.

Let us hope the Offenbach series proves as effective as the current Vivaldi has done. BH