Charles Mackerras conducting The Cunning Little Vixen promised to be inspirational and so it proved to be. No one has done more than Mackerras to ensure the operas of Janacek their rightful place in the repertory; no production did more to establish the composer in the affections of the opera-going public than David Pountney's. The premiere in Cardiff in 1980 was a joyous occasion and a landmark in WNO's history. In the ordinary scheme of things, this staging should long since have run its course; but it is somehow fitting that an opera concerned with nature's eternal cycle of life, death and renewal should re-emerge so triumphantly in Mackerras's hands. His unerring combination of scholarly authority and gentleness made the music simply glow, vibrant and life-affirming.

Stuart Hopps, the original choreographer, returned for this revival, bringing a new sharpness and slickness to the humour, new sheen to the ballet and mime, and new magic to Maria Bjornson's designs. Her undulating hillocks, leafy boughs and enchanting population of creatures, from glittering dragonflies to eccentric hens and the concertina-playing caterpillar, have always been fundamental to this production's charm. More than any other work from this company of late, this production pointedly articulates an integrity of purpose, where music, concept and design are inextricably bound.

In a strongly cast ensemble, the highest vocal honours go to James Rutherford who, with his gloriously resonant tone and innate musicianship, gave a performance of considerable stature as the Forester. The transformation from moody peasant to wise philosopher is difficult to achieve in such a short time-span, but Rutherford did it with nobility. Juanita Lascarro was also a fine Vixen, lissom and lyrical. She captured well the balance between animal instinct and touching humanity that is Janacek's vision of a Czech woodland village, and a microcosm, too, of all our worlds.

At the Hippodrome, Bristol (0870 607 7500), Friday, then touring.