Woodland magic finds its natural home at Longborough, where recent years have brought a wonderful Cunning Little Vixen and an equally wonderful Hansel and Gretel.

And now, even before the opera begins, Longborough’s new production of Britten’s Midsummer Night’s Dream hints at the world of enchantment into which we are about to be taken.

Richard Studer’s (he designs as well as directs) honeycombed back wall picks up a line from Bottom in Shakespeare’s play, so brilliantly adapted by Britten and Peter Pears.

Later, towers of fungoid, lampshade-like trees rising from traps in the stage will reflect these geometric patterns in a different plane, and swathes of lengthy drapes will evoke Tytania’s bower and provide supports for the breathtaking aerial gymnastics of Greville Matthews’ athletic and likeable Puck.

Other aspects of the design are not so successful, notably the basque and farthingale in which Richard Scott’s androgynous Oberon is asked to exercise his over-busy movements.

Similar attire for Tytania is far more fetching as worn by Helen Massey, her coloratura in this difficult role well-placed. Her fairy attendants are well portrayed, but I do wish they had been boys instead of personable young women.

The quartet of quarrelsome lovers is vividly cast, but outshone by the antics of the rude mechanicals. Inspired perhaps by morris-dancing Cotswold yokels, they take their thespian duties very seriously, and are headed by a Bottom from Mark Saberton which breathes the endearing sweetness of Pat Roach’s Bomber in Auf Wiederseh’n Pet and an astonishing ability to acquire the body-language of an ass.

Jonathan Lyness’s conducting will probably allow a little relaxation after this opening night: the orchestra, slithery, deftly percussive, and occasionally splendidly romantic, does superb justice to Britten’s magnificent score.

Running time: Four hours, including a 90-minute supper break. Repeated tomorrow 6.30pm, Sun 3pm: details 01451 830292)

Rating: 4/5