The closest to grand opera that Gilbert & Sullivan ever got, Yeomen of the Guard is regarded by many as their finest work. Certainly their most serious and intense, its richly woven juxtaposition of tragedy and comedy, coupled with its glorious musical score creates an altogether more satisfying and meaningful piece that, in the right hands, is an aeon away from their more frothy and frivolous operatic contributions.

Not unsurprisingly, what St Albans Chamber Opera did well was sing. Their full cast singing was superb. The finales were sung with great quality and precision and were real highlights.

Sadly, the largely pedestrian and uninspiring direction left more than one scene feeling flat. The chorus seemed unable to channel their energies into anything other than singing, leaving them looking somewhat lost and unengaged with the drama that was unfolding around them.

The solid principal line-up showcased their impressive vocal credentials to good effect, despite having to content with some rankling with the brass and an under-strength strings section. Thankfully, the accomplished woodwind players provided some welcome subtly and delicacy.

Richard Cowling (Fairfax) was assured and vocally effortless, skilfully interacting with Melanie Lodge (Phoebe) and Des Turner (Sergeant Meryll), who both turned in convincing performances. Initial bemusement with their West Country accents quickly turned to irritation, especially as it featured in the vocal items. This succeeded only in obfuscating the lyrics and detracting from the performance of the soloist.

Lina Saavedra appeared to lack the stage experience of her colleagues and was not persuasive enough as the stricken Elsie Maynard. Her delicious voice could have been used to better effect with greater emotional input and connection with the character.

Damon Pattison (Jack Point) worked tirelessly and created some tender moments of pathos though poor direction ensured his demise was not the tragic final curtain it could have and should have been.

Michael Moore