The falling snow at the beginning of Act III in La Bohème doesn't usually elicit laughter. But, on a stiflingly hot summer's night deep in the countryside, people were already fantasising about cool relief. It was not the only curious moment. There was something surreal about the great and good of the north Cotswolds watching scenes from bohemian life.

The production by the Opera Project, the well-established team of conductor Jonathan Lyness and director-designer Richard Studer, didn't try any fancy tricks. This was 1890s Paris, with period costumes, a single set with two raked platforms deftly transformed scene by scene, against a surround whose symmetrically looping art nouveau lines suggested the top floor of a grand building rather than a tenement attic. More obliquely, Studer added a station clock, presumably to go with the railway along the front of the stage, supposedly alluding to those on the "wrong side of the tracks" for whom the subject of youth remains enduring.

The students' bonhomie was well handled, thanks not least to Studer's translation of the libretto, which managed to sound unaffected. Clarity of delivery seemed to have been a main criterion for selecting voices: none was great, all were pleasing enough. Charlotte Page's Mimi and Nicholas Ransley's Rodolfo maintained a touching ardour throughout, while the lively Musetta of Judith Garner Jones also worked with Paul Keohone's Marcell.

Reinforcing the humour of the first two acts with Arwel Huw Morgan's artful doubling of the roles of landlord Benoit and the sugar daddy Alcindoro helped create a balance for the tragedy to come. Lyness's approach here was bold, sweeping Puccini's music along so that the audience might just still be shocked by Mimi's demise.

· In rep until July 30. Details: 01451 830292.