Even Glyndebourne audiences can be raucous. Thunderous applause and footstamping greeted the end of Tristan und Isolde, in the keenly awaited revival of Nikolaus Lehnhoff 's 2003 production.

Set in a glowing grey-blue vortex, symbolising birth, sex, death, functioning as ship, castle, cliff, Roland Aeschlimann's beautifully lit, abstract designs combine with Andrea Schmidt- Futterer's medieval costumes in a perfect unity of ancient and modern.

There are a few drawbacks. Keeping the chorus off-stage is not ideal. Amid this Schopenhauer-inspired excess of love and desire, the rude advent of a few lusty sailors can be blessed relief. On the first night, too, Robert Gambill as Tristan, never quite found form, sounding underpowered and struggling with intonation. Yet the overriding sense was of a spellbinding evening in the theatre. Katarina Karnéus, a we lcome new Brang‰ne, was secure, rich-toned and moving. Bo Skovhus (Kurwenal), Stephen Gadd (Melot), Timothy Robinson (Shepherd/Sailor) excelled. René Pape's King Marke, with a bass voice pure and flexible as the lightest lyric tenor, was impeccable. Jiri Belohlavek conducted an intelligent, expansive performance with lustrous playing from the London Philharmonic.

The thrilling triumph was Swedish soprano Nina Stemme, a seasoned yet youthful Isolde, who combined opulent vocal timbre with emotional intensity and physical allure. How often is that found in one Wagnerian soprano? Hammer on the door for returns. Or catch it for just £7.50 at an Odeon cinema near you on 26 October.

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