Performances of Amilcare Ponchielli's La Gioconda are a rarity in Britain, so Holland Park's decision to stage the work this year is to be applauded. The opera includes stirring music, a number of wonderful arias, and lots of drama. This is a fine production, too, with excellent performances by the principals, chorus and orchestra.

Set against the backdrop of a Venice carnival, the opera tells of the scheming of a government spy Barnaba who is bent on possessing La Gioconda. She in turn is in love with Enzo, a banished nobleman who has returned in disguise to reclaim his lost love Laura, now married to one of the city nobles (Alvise). It is a tale of sexual torment, sacrifice, and betrayal.

Gweneth-Ann Jeffers brings tremendous passion to the role of La Gioconda and Olafur Sigurdarson is wonderfully evil as the lustful spy. Jeffers's anguished broken lines sung over the gentle prayer of the chorus at the end of Act I, the spat with Laura in Act II, and the aria Suicidio! in Act IV were all thrilling. Vadim Zaplechny (Enzo) also gave a creditable account of the famous aria from Act II (Cielo e mar).

Martin Lloyd-Evans's direction and Jamie Vartan's designs are first class - with imaginative use made of carnival masks. The black cloaks, white masks, and occasional dashes of colour create a sumptuous painterly effect. Regina Wielegen's choreography for the famous ballet in Act III also deserves special praise for its imaginativeness and humour. The orchestra, under Peter Robinson, was on top form.

My only criticism is the handling of Laura's awakening from her drugged stupor towards the end of the work. The dramatic tension was lost, causing the audience to laugh. Enzo's realisation of the sacrifice La Gioconda has made should be a gut-wrenching moment. But this was the first night - hopefully it can be fixed.

Performances continue until August 9 - see www.operahollandpark.com for online bookings, or call 0845 230 9769.