Jeffrey Stewart as a slightly stiff Lionel the beau produced some pretty melting arias

Jeffrey Stewart, as a slightly stiff Lionel (the beau), produced some pretty, melting arias. The quartets, including the famous spinning quartet – shades of Offenbach – and the Act III quintet all brought the house down. Fiona McAndrew’s Lady Harriet is an intriguing mix: more mezzo than soprano in colouring, yet possessed of a dazzling high coloratura. She softened her tone as the opera progressed, and to advantage. A triumph, then, for Martha, due above all to the conductor, Martin Handley, whose energy communicated itself to all and drew some fabulous playing from the entire strings plus, notably, the clarinet and horn soloists.

Martha can also be seen in Belfast early next year.In tandem, Castleward offers a more than presentable Madame Butterfly, though the director, Christopher Cowell, could learn a few tips from Hawkes: none of the uniformly well-sung characters seemed to have a clue about moves or gestures. But the acting, and the weight of the production, hinged on Constance Novis, whose Butterfly was a personal triumph: noble, passionate, engaging, steely, erotic, both vocally and visually mesmerising.To 24 June, 01232 661090, 028-9066 1090. To be continued – that is a problem for Birmingham Royal Ballet’s Arthur, which has now been brought to Covent Garden. When films have a part two, part three and so on, it is usually because the original was so successful that a sequel was written. Arthur, on the other hand, was planned from the start to take two evenings, but, presumably for practical reasons, we must wait until next year for part two.

To be continued – that is a problem for Birmingham Royal Ballet’s Arthur, which has now been brought to Covent Garden. When films have a part two, part three and so on, it is usually because the original was so successful that a sequel was written. Arthur, on the other hand, was planned from the start to take two evenings, but, presumably for practical reasons, we must wait until next year for part two.
The consequence is that part one on its own looks unbalanced. All the necessary exposition (King Arthur’s murky origins and the reasons for his eventual downfall) takes up most of Act I with heavy drama that overlays the odd touch of humour. In compensation, long stretches of Act II are given over to more decorative dancing Meanwhile, the prime purpose of the subject gets a bit lost.

Arthur himself has become an embodiment of English patriotism, but his kingship and heroism are rather played down in what we have of the ballet so far. Nor is there much indication, except perhaps symbolically in the group dances that begin Act II, of Arthur’s great achievement, the setting of standards for chivalry through his famous round table.Well, perhaps it will all become clear in part two. Meanwhile, David Bintley has slightly tightened up his narrative (not enough though, I think), and the company is tackling its roles with gusto. Curiously, in a story that is almost entirely about men and whose choreography puts the emphasis largely on robust male dancing, it is the few female characters who come over most strongly. Already we can see why Morgan Le Fay, sly, sexy and determined, is going to defeat the arrogant but almost anonymous Merlin in their struggle for Arthur’s destiny.

The beautiful but sadly wronged Igraine, Arthur’s mother, wins sympathy, and Queen Guinevere seems capable of proving a more complex and likeable character than either her husband or her lover. I have seen two or three casts in each of those roles, all of them good.Influenced, apparently, by TH White’s The Once and Future King, Merlin’s progress backward from crippled old age is confusing, and I think Bintley unnecessarily underlines all the modern parallels. However, we shall see what happens when the ballet is completed. Meanwhile, there is more enjoyment to be had from the company’s jazz programme at Covent Garden from Thursday.. Never mind that Elton John failed to turn up.