This is the first British professional production of Betrothal In A Monastery, the opera written in 1940 by Sergei Prokofiev and his mistress Mira Mendelson.

It is a sort of Mozart-meets-Rossini comedy taken from Richard Brinsley Sheridan's 18th-Century play, The Duenna, but given a profoundly Russian slant by Prokofiev.

The style is neo-classical, with many references to his early piano works, his opera The Love For Three Oranges and his music for the ballet Romeo And Juliet.

The London Philharmonic Orchestra under its soonto-be boss Vladimir Jurowski, presently Glyndebourne's music director, The music is given a powerful performance.

Moscow-born and German-trained Jurowski is one of the great conductors of the modern day, superb in the grand sweep of the music but with a firm grip on the smallest detail.

He is ably supported by a stunning production from director Daniel Slater and designer Robert Jones Hopkins, making their Glyndebourne debuts after hit productions in Santa Fe, San Francisco and Berlin.

This is a distinctly Russian opera, although the action takes place in 18th-Century Seville.

We get the full faded glamour of the aristocracy and the new wealth of the middle classes, personified by the Don Jerome of Vlacheslav Voynarovskiy and the nouveau riche fishmonger, Mendoza, sung by Sergei Alex Ashkin.

Watch out too for the magnificent contralto voice of Alexandra Durseneva as the duenna herself.

This is a production on which no expense has been spared. It is lavish - panels slide in and out and up and down to give us the monastery and its garden, a study and the local fishing port.

A chorus of monks rise from beneath the floor and the costumes for the large chorus are sumptuous.

The complex story is about the trials of two pairs of lovers and there is much fun with crossdressing and mistaken identities Rossini would have loved it.

But it is the complexity of the story which leads me to the production's only problem that it is sung in Russian.

While this is a largely Russian, Bolshoi-trained cast and it is wonderful to hear the Russian language, I found the surtitles distracted from what was happening on stage.

Perhaps, as Glyndebourne did this year with Die Fledermaus, this production could perhaps be sung in English.

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