A delightful way to begin a new year. Debussy’s Pelléas et Mélisande, a semi-staged operatic performance at the Barbican with the London Symphony Orchestra, conducted by Sir Simon Rattle. It is marvellous to have him back in the UK, even if it is not in the wonderful acoustics of Birmingham’s Symphony Hall. The Barbican was rather full last night, with an interesting mix of opera fans and admirers of the actor David Tennant, who was performing in the RSC’s Richard II in the theatre.

This enjoyable performance was directed by Peter Sellars and starred Magdalena Kožená (aka Mrs Rattle) as Mélisande, Christian Gerhaher as Pelléas, old favourite Gerald Finley as Golaud (Mélisande’s husband and brother of Pelléas), Franz-Josef Selig as Arkël (grandfather of Golaud and Pelléas), Bernarda Fink as Geneviève (mother of Golaud and Pelléas), Joshua Bloom as the Doctor and the Shepherd, and a young man identified in the programme only as “Soloist of the Tölzer Knabenchor” as Yniold (Golaud’s son).

Pelléas et Mélisande is Debussy’s only opera and it is truly glorious, with some of his most stunning music enhancing Maeterlinck’s play. It is remarkably fluid, with conversation leading throughout and almost no occasions on which there is a pause for a “look at me” moment. For an opera, there is relatively little plot and much misleading conversation. But oh, what conversation! Act two, scene 1, in which first Mélisande’s hair and then her ring fall in the well, to her and Paellas’ consternation, was exquisite and produced beautiful singing and acting from both Kožená and Gerhaher.

The singing was of excellent quality throughout. Kožená’s creamy, rich soprano was particularly suited to Debussy’s music, and Gerhaher’s rounded, earthy baritone well matched to her. Finley (a long time favourite of mine from Glyndebourne) provided a suitably menacing, intense air as Golaud, and Selig a grounded, deep bass as Arkël. Fink’s rich alto and Bloom’s supportive bass were also of superlative quality. And I must particularly praise the young Tölzer Knabenchor soloist, whose treble was of exquisite purity, and whose dedication to pitch and to the quality of his sung French would have been laudable in one several times his age.

Rattle kept a firm grip on the orchestra, which had beautiful dynamic control and paid close attention to him. I am very much looking forward to   Rattle’s assuming the position of Music Director for the LSO in 2017. I am cautiously optimistic about the possibility of a new concert hall, as neither the Royal Festival Hall nor Barbican Hall is really of the standard that London needs. I think it will cost significantly more than presently anticipated, however. Is there any possibility that a sponsor such as Emirates might obtain naming rights for a cheeky £100m or so? That would ease the government’s burden considerably.

Semi-staging is always a challenge, particularly in a traditional concert hall setup. I enjoyed the use of the orchestra and the positioning of the singers in and around the strings. That said, there were some odd long light fixtures that reminded one of our party of a Berlin nightclub and me of Star Wars lightsabers. When one of the singers was said to draw his épée, I half expected him to take up a light fixture and swing it around.

The costumes were also lacking. Kožená’s simple black dress worked well enough, especially since her beautiful red hair was all the adornment she needed, but the men, who were in informal black shirts and black jeans, looked like they were in a rehearsal. Because there is little to draw the eye in a semi-staged performance, the costumes are of great importance and I do hope that they are enhanced for the next semi-staged opera presented by the LSO and the Barbican next year.

This was a delightful start to 2016 and, musically, could not be faulted. A very enjoyable evening and the first of many semi-staged operas presented by the LSO and the Barbican. I look forward to the others.