After a seven-year hiatus, Stowe Opera has risen phoenix-like at a new venue: the magnificent Winslow Hall, a Grade I-listed mansion situated just over the Buckinghamshire border. The house is now owned by Christopher Gilmour and his wife Mardi, and they have invited Stowe Opera to pitch a tent (well, a large marquee to be precise) in their garden — a garden which features a large, well-sheltered lawn, making it ideal for picnics, given halfway decent weather.

Mozart’s Marriage of Figaro is the work chosen to bring Stowe Opera back to life. As a sparkling account of the overture gave way to Figaro’s first exchanges with his bride Susanna, it became apparent that the tent possesses excellent acoustics, even if it does rather mercilessly expose vocal slip-ups. A main road passes extraordinarily close to Winslow’s front door — allegedly a reason why Mr and Mrs Tony Blair decided against buying the house a few years ago — so there is some traffic noise, but nothing too obtrusive the night I was there.

It was soon apparent that Stowe’s objectives and strengths remain unchanged. The company stages rumbustious, plain vanilla productions, and gives young professional singers their first crack at major roles.

Helen Massey presents a Susanna with attitude — her diamond-edged voice suits a lady who is often seen flouncing about with her hands on her hips. Figaro (Marc Callahan) has a contrasting, chocolate voice, and his body language suggests that he is more than a little in awe of Susanna. Meanwhile, Michael Davis’s Count Almaviva is a nasty piece of work — both a passionate Italian seducer and a bully who resorts to violence. Figaro is a real test, but only at the end did the principals show any signs of flagging.

One of the main recipients of the Count’s unpleasant attentions is Cherubino. Catrin Johnnson has just the voice for the part, and bags of suitable cheek too. Magdalen Ashman makes much of housekeeper Marcellina, turning her into a spirited lady of abundant charm. Among more experienced hands, Yvonne Fontane (who also directs, with much emphasis on good acting) delivers the Countess’s two big arias with poignant dignity, while Alan Fairs lovingly portrays Bartolo as a scheming old rogue.

But the star of the evening is conductor Robert Secret. He accompanies the singers most sensitively, and draws delightful, often appropriately humorous, playing from his orchestra. It’s great to have Stowe Opera back.

Further performances tonight, Saturday and Sunday. Tickets www.stoweopera.com, or by phone: 01280 848275.