This is, we are told, the last time Nikolaus Lehnhoff's 1989 staging of Janacek's Jenufa will be seen at Glyndebourne. Its appearance marks the 150th anniversary of the composer's birth and the centenary of the opera's premiere, and even though it has been reworked for a largely new cast by Lehnhoff's assistant Dagmar Thole, it remains a formidable experience, at once harrowing and ennobling.

The production was originally created round the Kostelnicka of Anja Silja, who also sang the role in its previous revivals, a performance many saw as definitive. Silja's successor is Kathryn Harries, and it's a measure of her greatness that she offers a radically different, and equally mind-blowing, interpretation.

Where Silja presented us with a woman destroyed by her entrapment in moral codes of implacable rigidity, Harries hints at psychological instability. When she regales Steva with tales of her own disastrous marriage, we sense the traumatic, self-lacerating legacy of abuse. Where Silja generated tremendous stillness, Harries is in constant, neurotic motion, relentlessly pacing the floor, wringing her hands in desperation and pounding the furniture with clenched fists. After the murder of Jenufa's child, her descent into madness is frightful: agonies of conscience flicker across her face and seep into her still beautiful voice.

The rest of the cast are equally exceptional. Orla Boylan's Jenufa passes from wide-eyed naivety through unspeakably realised grief to emotional and spiritual maturity. Robert Brubaker as Laca takes us on an equally powerful psychological journey from barely repressed violence to genuine nobility, while Par Lindskog is the best Steva imaginable, vapidly sexy and painfully immature. The conductor, Markus Stenz, allows the score to unfold with a measured inexorability that becomes truly overwhelming. See it, if you think your nerves can take it.

· Until August 28. Box office: 01273 814686.