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As he scaled the heights of Nessun Dorma, his voice, enriched by an impeccably controlled vibrato, was, like the stars of the text, "trembling with love and hope". Yet it was also rock-solid, more so than the flimsy oriental structure whose pillars he was clutching.

No less fearsome are the demands on the singer of the title role of Turandot. Disappointment at the indisposition of the newly risen star Iréne Theorin was tempered by the announcement of her replacement, Elizabeth Connell. Her popularity over the years is due not least to the warmth and generosity of her voice, not qualities traditionally associated with the Ice Princess.
If the metallic edge some celebrated sopranos have brought to the role was replaced here by a bloom and a fullness of tone, the character projected was touchingly vulnerable as well as formidable.

Svetla Vassileva similarly brings a rich, heartwarming quality to the role of Liu — this is no delicate flower. Paata Burchuladze’s gravelly Timur is also impressive, as is Nicola Luisotti’s strongly propelled yet finely detailed conducting. Andrei Serban’s 24-year-old production, revived by Jeremy Sutcliffe, is as spectacular as ever and a serviceable vehicle for singing of this quality.

Until 23 January (020 7304 4000, www.roh.org.uk )

The Royal Opera: Turandot
Royal Opera House
Floral Street, WC2E 9DD