FOR English National Opera's new production of Orpheus And Eurydice the conductor, Jane Glover, has chosen the original Vienna version of 1762. Despite the taut subtlety of its structure, the score is ravishingly simple to the ear; refreshingly devoid of extraneous ornament and direct in its tale of passion, despair and the final, joyous triumph of love.

In Michael Chance English National Opera has found a gifted artist for the title role. His counter-tenor is pure and strong, his singing secure and highly accomplished; his acting committed and his diction impeccable. Lesley Garret partners him with sweet, true tone as Eurydice, and there is a pert little vignette of Amor from Helen Williams.

At the Coliseum the chorus is positioned in boxes flanking the stage, leaving the centre free for the principals and attendant dancers. Attired in sombre overcoats, these last represent the mourners, then the Furies and then, stripped naked and looking decidedly under-nourished, the blessed spirits. Martha Clarke's direction and John Conklin's barren, rocky landscapes are sure and telling to this point but, in the final scene, ceaseless, obtrusive capering by the rejoicing dancers and lovers threatens to overwhelm the music, and the party gets further out of hand when the chorus rush on to join in the last hectic minutes.