Known primarily as the composer of the alternative national anthem, Rule, Britannia, Thomas Arne also deserves to be remembered for his opera Artaxerxes. Written in the Italian manner, and bridging the chronological and stylistic gap between Handel and Mozart, Artaxerxes was hugely successful in its day but is now rarely seen.

All credit to the Classical Opera Company for resurrecting a work brimming with delightful music and for providing it with a very serviceable production.

There is some terrific singing to be heard here, especially from Elizabeth Watts, rising intrepidly to the coloratura challenges of the role of Mandane, and Caitlin Hulcup, who plumbs the anguished emotional depths of the castrato role of Arbaces with her plangent delivery.
The South African countertenor Christopher Ainslie is a fine Artaxerxes, while Steven Ebel’s Rimenes is also well sung. Rebecca Bottone and Andrew Staples complete the cast.

Martin Duncan’s production, designed by Johan Engels, is economical to a fault. Its gently postmodernist take on Baroque gesture embraces elements of Japanese drama (mimetic figures, stylised veils, red ribbons representing blood), which emphasise the formality of the 18th‑century theatre. Once you tune in to its slightly arch stylisation, its rationale makes sense, even if it might seem lacking in terms of the immediacy of conventional drama.

Arne left his score incomplete, a fact that has hindered its revival. But Ian Page has made his own performing edition, with additional recitatives, incorporating a new finale composed by Duncan Druce. Very convincing it all is too and Page proves an engaging advocate of the score with his briskly paced but sensitive direction.

Thomas Arne, whose tercentenary is celebrated next year, was born and spent most of his life in the Covent Garden area. Artaxerxes was originally given in the first theatre on the site. It’s good to have the opportunity to welcome the local boy home.
Until 14 November. Information: 020 7304 4000, www.roh.org.uk.