Verdi's Il Trovatore has always been core to Welsh National Opera's values, and they honour that tradition with this stirring revival. Yet when Peter Watson's staging was first seen four years ago at Cardiff's New Theatre, few of its present strengths were evident. Here, the wide Millennium Centre stage allowed Tim Hatley's darkly austere set to take on a monumental quality. That such a minimalist production could conjure the atmosphere of warring medieval Spain was also thanks to effective lighting and to conductor Carlo Rizzi's unashamedly theatrical handling of Verdi's dynamics, notably in the moments of silence.
While the dramatic colour of the soldier and gypsy choruses was vivid, the crucial transformation was down to a very gutsy ensemble of principals. David Soar was impressive as Ferrando, achieving a clarity and forcefulness that allowed his character to be a linchpin in the action, captain of the troops but supportive of his master, the Count di Luna. Dario Solari's elegantly sung Di Luna was most authoritative. His passion for Leonora was altogether credible, bringing an emotional validity to the love-triangle where two brothers - though, this being opera, they don't know that - love the same woman.
Katia Pellegrino's Leonora initially carried a slightly steely edge but, with the ardent sweep of her melodies always beautifully controlled and her runs supple, this was a deeply sympathetic portrayal. She was more than a match for Dennis O'Neill's heroic, if anachronistically costumed, Manrico. O'Neill's partnership with Anne-Marie Owens' formidable Azucena succeeded in tugging at the heartstrings, a potent reminder of the centrality of the parent-child relationship to Verdi.
· Repeat performances (08900 40 2000) on Thursday and Saturday. Then touring.