Così fan tutte

Making her Covent Garden debut with this revival of Jonathan Miller's ­production of Mozart's intricate ­comedy is conductor Julia Jones, British-born, though as yet far better known in mainland Europe than here. She led a ­remarkable ­performance, notable for the sharp profile of the ­ensembles, the ­effectiveness of her tempo judgments and the lucid warmth of tone she drew from the orchestra. This production has witnessed some exceptional Mozartians in the pit over its 15 years, and Jones's interpretation ranks among the best. In fact, it is hard to imagine the Royal Opera replacing this Così ­anytime soon. With just one plain wall, a ­couple of sofas, a mirror, a few cushions and ­contemporary costumes, this must be one of the best visual investments the ­company has ever made. Rehearsed on this ­occasion by Daniel Dooner, the ­overview of this most darkly ­ambiguous of comedies remains intensely felt as well as funny in detail. Charles ­Castronovo and Troy Cook enjoy taking on the heavy metal fan ­paraphernalia of Ferrando and Guglielmo's ­disguises, while Sally Matthews and Nino ­Surguladze partner them perfectly as rock chicks in the finale. The mobile phone gags are neatly woven in, with the Nokia theme interrupting proceedings from the continuo, rather than a forgetful member of the audience. Such jokes would count for little if the standard of singing and acting were less high. Matthews wins an ovation for Come Scoglio, but the rest of the arias, including Helene ­Schneiderman's as Despina, are winningly sung, while the air of sadness and disgust with which William Shimell's Don Alfonso contemplates the final emotional wreckage is shockingly eloquent. In rep until 17 February. Box office: ­020-7304 4000.