On the surface of it Britten’s comic opera ‘Albert Herring’ is a relatively lightweight piece – especially when compared to the far better known ‘Peter Grimes’ that preceded it. It has a small cast and is accompanied by a chamber orchestra ( a panoply of colour was produced by the small forces).

The story has something of the Ealing comedy about it with its selection of small town characters who appoint the innocent eponymous ‘hero’ as May King until eventually he breaks free from maternal suffocation with the help of a ‘magic potion’ ( lemonade laced with rum).

Underneath it all, and despite the fact that Britten is clearly enjoying himself in music of enormous ingenuity and wit, there clearly lurks a darker side with the unmistakeable figure of the outsider driven to near madness ( seen in many of his stage works) - socially and sexually oppressed. Andrew Hanley makes a convincing job as the lead with more than a hint of Benny Hill in the delivery.

The young soloists from the Royal Welsh College, directed by Martin Constantine, gave a highly polished and engaging account of the complex score with Dawn Burns a wonderfully stern Florence Pike, Letitia Perry excellent as she delivered a hilariously tedious singing lesson and Emyr Wyn Jones in fine voice as Sid.

Equally worthy of praise was the playing of the Royal Welsh College Soloists conducted by David Jones. Alex Stead (horn), Jess Townsend (violin) and Christopher Green (flute) deserve a special bow.