First seen in 1996, controversial director Peter Sellars' adaptation of Handel's English oratorio is brilliantly revived and remains a stunning piece of music theatre.

The biblical story of the martyrdom of Theodora and her Roman soldier lover is updated to modern times.

A near Richard Nixon look-alike is the Governor of Syria decreeing a clampdown on the Christians.

And the martyrdom isn't by crucifixion, stoning or other Roman niceties.

It is by lethal injection, which Sellars shows us as cold, mechanical and rather drawn-out, certainly far from being humane.

Indeed, the final execution scene is one of the most chilling scenes in opera.

Opening night was among the hottest on record but my marrow was certainly chilled, my blood ran like ice.

Theodora is excellent fare, with some of the most beautiful singing ever coaxed from a young Glyndebourne chorus.

They also have to memorise some rather complicated hand and arm movements which helps to make this a wonderful theatrical spectacle as well as a songfest par excellence.

Soprano Susan Gritton, replacing Lisa Milne who is unwell, in the title role does a sterling job as does everyone in this highly talented and experienced cast.

But everyone, and I mean everyone, is completely overwhelmed by American mezzo/soprano Lorraine Hunt Lieberson.

She is now back at Glyndebourne to repeat the role of Irene, the sect leader and prophet.

Ms Hunt Lieberson raised the temperature even higher than the thermometer outside the theatre.

She has a voice that stuns, that drives you crazy in amazement and wrings you dry of all emotional juice.

Her agony is agonising and her joy is joyous.

When she sings with the chorus the result is absolute dynamite, threatening to better the boys of the Orchestra of the Age of Enlightenment under Harry Bicket down in the pit.

Great, great stuff - a real five-star extravaganza and a total knockout.

Call 01273 813813 for further information and ticket details (returns only) or visit www.glyndebourne.com