WHO says time travel isn't possible? The Chisinau National Opera production of Verdi's Aida, brought to the UK and directed by Ellen Kent, not only transports its audience back to ancient Egypt but also to a time when opera producers worried more about honouring the composer's instructions about sets and costumes than forcing their own ideas on the show.

This back to basics approach with its extraordinary attention to the minutiae of jackal-headed gods, stone columns, temple dancers and triumphal military march-pasts certainly went down well with the audience. And the classic simplicity of the love triangle storyline would have come as a pleasant surprise to anyone unfamiliar with opera.

The singing was good too, both in the extrovert set-pieces of the first two acts and the more reflective intimacy of the last two. Elena Dee was a charismatic Aida, particularly moving in the final death scene. Playing opposite her was Nicolae Busuioc as Radames, a little statuesque but vocally strong and suitably heroic. Zarui Vardandean as Amneris and Vladimir Dragos as Amonasro also brought a vivid sense of drama to their roles.

Aida's success sprang from a large team all working together. There was no stinting when it came to the large orchestra and chorus (whose lusty singing was key ingredient of the first half). These were joined, on a very crowded stage, by local dancers from Stagecoach Derby. The conductor, who managed to keep these impressive forces under tight control, was Gheorghe Stanciu.

William Ruff