Among other accolades —including a degree from Oxford University — Richard Strauss was made an honorary citizen of Naxos.

This was in thanks for the “consummate work” in which he gave artistic expression to the Greek island’s myth (the Naxians generously overlooked librettist Hugo von Hofmannsthal’s libellous transformation of the lushest of the Cyclades into a desert island).

Their gratitude for Ariadne auf Naxos has been echoed around the world in the 94 years since the first performance of this innovative and vastly enjoyable opera. Its many delights — not least an irrepressible good humour — were made clear this week with the return to the New Theatre of Welsh National Opera’s excellent production (director Neil Armfield) first given in 2004.

The action is updated to the present, or thereabouts. Vienna’s richest citizen evidently has a full-size theatre in which to offer post-prandial entertainment to his guests. Busy at last-minute preparations backstage we find a pizza-chomping quartet of commedia dell’ arte players (Owen Webb, Aled Hall, Julian Close and Wynne Evans) ready to perform the opera buffa, Faithless Zerbinetta and her Lovers, and huffy practitioners of higher art livid that their opera seria, Ariadne (how preciously this name is pronounced by Music Master Robert Poulton!), is to be followed by such dross.

Worse is to come, with the announcement by the deadpan Major-Domo (Eric Roberts in a speaking role) that his master wishes to have the works given simultaneously — thunderous drums greet that dread word — in order that the fireworks are not delayed.

This news prompts the threat of a walk-out by Ariadne’s Composer (Imelda Drumm marvellous in this trouser-role, as she was in 2004), until his ruffled feathers are smoothed by the lovely Zerbinetta (Gillian Keith). He comes close to blurting out his love for her during a beautiful duet. It is not until after the interval, however, that Zerbinetta shows her full vocal mettle in the recitative and aria Grossmächtige Prinzessin which outdoes for florid decoration even the Queen of the Night’s two arias in The Magic Flute (coming from WNO tonight and Saturday).

These vocal pyrotechnics almost (but not quite) eclipse the glories of the melodies given to the cruelly abandoned Ariadne and the three nymphs (Mary-Jean O’Doherty, Patricia Orr and Joanne Boag) who attend her in her island exile. Orla Boylan (pictured) , a memorably fine Ariadne at Garsington three years ago, excelled once again on Tuesday.

Her final love duet with Bacchus (Ricardo Tamura), in which, having already taken on Mozart, Strauss decided to mix it with Wagner, was sensationally good.

Under the firm control of WNO music director Lothar Koenigs, this performance showed the company at its impressive best. n WNO’s visit continues until Saturday, with Beethoven’s Fidelio tomorrow. Box office: 0844 8471588 (www.newtheatreoxford.org.uk).