Ever inventive in devising its scaled-down touring productions, Garden Opera presented Rossini's most popular opera in the guise of 'Bartolo's Circus', a small travelling show whose backstage drama was played out against vivid posters advertising 'Rosina the singing bird'.  Neil Irish's ingenious set and Dulcie Best's eye-catching costumes evoked the world of the circus on the small canopied stage planted in the midst of a London park, its orchestra beside it.

Adam Miller exuded the menace of one of his charges as the lion-tamer turned circus owner, a choleric, scarlet-suited figure who delivered Bartolo's music in a well-nourished baritone.  The wily, personable Figaro, carrying the tools of his trade on his jacket, was Simon Lobelson, who delivered his self-promoting aria with many a flourish and musicianship that gave due regard to words and music.  As the other half of a spirited double act, Alexander Anderson-Hall proved an accomplished actor, first as the drunken soldier then, hilariously, as Donna Alfonsa, the grey-wigged, substitute singing teacher armed with her knitting and clamouring for a cup of tea and a corned beef sandwich in the updated libretto; his slightly edgy voice projected well and he used it expressively.  Serena Kay brought a creamy mezzo to her vivacious Rosina and negotiated her solos with polish.  Deryck Hamon enlivened the show as Basilio, comic and magician.

Peter Bridges, music director and pianist, led his small string and wind chamber group in an inspiriting performance that conveyed the essence of Rossini's score, and was the backbone of the performance.