I must begin this review with an apology. I was

not too keen to see this production by controversial director Deborah Warner.

I saw her trashing of Mozart's masterpiece Don Giovanni and feared she would do something nasty to Beethoven's only opera which is all about love, liberty and justice.

So I took several deep breaths before curtain up and endured a few reservations when I saw a fussy set, modern dress and props, which included washing lines, an ironing board and an electric iron. Her inspiration for this opera clearly came from one of the many recent Balkan conflicts.

We were in a prison. Scruffy guards kept watch. The prisoners were emaciated and the governor, Don Pizarro, had his own agenda and wanted his special prisoner Florestan hidden away in the deepest dungeon to be disposed of quietly.

Enter Leonore, Florestan's wife, disguised as a prison worker intent on rescuing her husband. Thus ended act one, amid a set of fussy-looking wire cages distracting the eye from any action.

But Ms Warner redeemed herself in act two. Here we were in the dungeon while jailer Rocco and Leonore dug Florestan's grave.

It was emotionally tough material which became even more so when, gradually from off-stage, a popular uprising could be heard as peasants stormed the prison.

It was stunning stuff. Beethoven's sublime music became even more sublime. It caught me with a lump in the throat, tugged at the heart and sent a prickle to the eyes.

Making it glorious was Simon Rattle leading the Orchestra Of The Age Of Enlightenment. They were in top form with muscular playing, brimful of emotion, beautiful shading and gusto.

Dutch soprano Charlotte Margiono made an excellent Leonore and was ably matched by tenor Kim Begley as Florestan.

For ticket availability, contact the Glyndebourne box office on 01273 813813.

Glyndebourne, Lewes until July 11