A reduced Pelléas et Mélisande, in English - can it work? The answer, after the first night of City of Birmingham Touring Opera's new production, seems to be yes and no. The reduction of Debussy's luscious orchestral score for two pianos is surprisingly effective - full credit to the sensitive playing of Jonathan Hinden and Steven Maughan. The very least one can say for Hugh Macdonald's translation is that it isn't embarrassing.

As for the cuts, some of them do prevent the action from reaching a standstill. But the removal of Mélisande's death, and of any references to her child, are as devastating as the amputation of a limb. They also leave the music trailing off inexplicably at the end. This surgically altered Pelléas fits with director Franco Ripa di Meana's idea that the old king Arkel and his daughter Geneviève are reincarnations of the tortured prince Golaud and Mélisande. But I only realised that because I read the programme; I wouldn't have guessed it from what happens on stage.

The set is a triumph. Economical to the point of minimalism, it adapts itself cleverly to each dramatic situation. It also works well acoustically, supporting the voices when they most need it. It's a shame it has to be loaded with inexplicable clutter: a rusty winch stretched just above the singers' heads, and lumps of what look like coal scattered and rearranged (noisily) about the central dais.

Soaring above all this is Christopher Purves's pained, tragic Golaud: beautifully sung and acted, this Golaud's failing is simply that he is all too human. He should be given a chance at the role again soon - only next time let's have the whole score, and the whole story.

***** Unmissable **** Recommended *** Enjoyable ** Mediocre * Terrible