THIS production of Henry Purcell’s famous opera Dido and Aeneas seems to have been something of a relaunch for Somerset Opera, and if this show is anything to go by, we have a lot to look forward to, writes Winston Perry.

The company is 50 years old this year, and under the leadership of Helena Payne, is seeking to build on that legacy and step up its game, by bringing on board the best young professional opera singers working in this country alongside the splendid chorus.

Somerset Opera took up residency in The Museum of Somerset, home of the Low Ham Mosaic, a piece of important local Roman history that depicts the whole story of Dido and Aeneas. Discovered locally in the 1930s, the mosaic provides a jumping off point for this production.

It helps that the cast is so impressive, most of whom are young professional singers who have connections to the South West. As Dido, Leila Zanette makes a compelling central figure, rich voiced throughout and heartbreaking in the final lament, and a terrific actress who brings nuance to every line.

As Aeneas, baritone Kieran Rayner makes the most of his role, beautifully sensitive in his solos as both a dashing lover and then a pained foil to Zanette’s Dido. Bethan Terry is a charming and sparkling presence as Belinda, especially so in her winsome solos, and is well matched by Amy Carsen as the Second Woman, who also plays an archeologist to open the show.

Stephanie Berner and Helena Payne make a brilliant comic double act as witches, their voices blending beautifully in duet, and Robert Felstead gives us an authentic Somerset twang as a bawdy and crowd-pleasing Sailor.

Under conductor Noah Mosley’s direction, the sterling Somerset Opera chorus have never sounded better, and they seemed to really enjoy being such an important part of the action.