Nobody could accuse Ravel of resorting to slapstick in his one-act opera L’Heure Espagnole.
The humour, precise and restrained, lies in the subtlety of the score, which is as intricate as the craftsmanship of the clockmaker, Torquemada, whose temporary absence from his shop precipitates the action.

What the score lacks, however, is genuine theatricality and Richard Jones is hard put to it to bring it alive. Ruxandra Donose, the new Concepcion in this revival, is suitably randy as the clockmaker’s wife and the rugged good looks and musculature — not to mention the alluring baritone — of Christopher Maltman serve him well as Ramiro, the muleteer who humps first grandfather clocks to Concepcion’s bedroom and
then the oversexed housewife herself.

As soon as the curtain goes up on the second leg of the double-bill, Puccini’s Gianni Schicchi, we know this is going to be dramatically far more satisfying. The antics of the rapacious will-hunting Florentine family are depicted with a broad brush by Puccini and his librettist, and Jones responds with his own brilliantly surreal, anarchic take.

Thomas Allen is the new Schicchi, making up in stage artistry for what he now lacks in tonal lustre. Another great survivor is Gwynne Howell, celebrating his 40th anniversary with the company. The baffled authority of his Simone is ideal, as are the ardour of Stephen Costello’s Rinuccio and the venomous avarice of Zita. Maria Bengtsson, whose Lauretta is condemned to spend most of the opera out on the terrace feeding the pigeons, seizes her moment of glory with an appealing O mio Babbino Caro.

Antonio Pappano conducts with zest and inspiration.

Until 28 October (020 7304 4000, www.roh.org.uk).