One of the classic images of early romantic opera is that of Amina, Bellini' s sleepwalking heroine, teetering perilously over the frail bridge in her Alpine village while blissfully oblivious to personal danger.

While that particular visual set-up probably post-dates Bellini's time, it neatly symbolises the plight of any soprano engaged for the role. Not only do you have to sing something nigh on impossible, you have to make it all sound effortless. In Holland Park's spare, broadly intelligent production by Alasdair Middleton, Linda Richardson's traversal of the star part has some good sections and others less good.

She looks a prepossessing ingénue and manages many of the notes, if with a distinct lack of colour. But her coloratura is frequently fuzzy and so are most of her words. She survives the ordeal respectably, but she does not move you, as Amina must.

Middleton and designer Bob Bailey chart effectively the opera's half-serious, half-comic view of a naïve rural community, its superstitions and its strict moral codes. In terms of acting and movement, the chorus is unusually alert. But they need to keep a closer eye on conductor Brad Cohen, whose beat they regularly fall behind.

In other respects Cohen's alternation of flexibility and dynamism is one of the best things about the evening, ensuring that Bellini's expression makes its clean and delicate mark. Of the rest of the cast, the men are the best. Tim Mirfin is firm and sonorous as the visiting Count Rodolfo. Paul Austin Kelly's bel canto experience shows in an incisively sung account of Amina's lover Elvino, who transfers his affections elsewhere when his fiancée's nocturnal perambulations land her up in the wrong bedroom. Kate Ladner fields bags of envious malice as her arch-rival Lisa, though vocally she's insecure, while Anne Mason is the picture of maternal concern as Teresa, Amina's mother.

· Until June 25. Box office: 0845 230 9769