One of the things that makes Holland Park distinctive is its revival of rare works, mainly by Puccini's contemporaries, that were once successful but subsequently vanished. The latest is Italo Montemezzi's The Love of Three Kings, a huge hit at La Scala in 1913, and a piece played in major opera houses until the 1950s.

Set in a fortress occupied by foreign invaders in medieval Italy, the plot focuses on the Italian princess Fiora, married to Manfredo, son of the invading monarch, but in love with a local prince, Avito. Her blind father-in-law discovers her adultery and strangles her, but his attempt to snare his son's rival backfires when not only Avito but also Manfredo tastes the fatal poison smeared on the dead woman's lips.

It is a high-flown, decadent subject in the symbolist manner, but carried off with such flying colours that there is scarcely a let-up in its passion and panache. In a score indebted to Wagner and Debussy, with the odd hint of Strauss, Montemezzi's orchestral writing is vivid and purposeful. The piece comes within an ace of registering as a masterpiece, though there are not quite enough strong musical ideas in the end.

Martin Lloyd-Evans's production is a great success. Designer Jamie Vartan's set is a concrete bunker from the second world war, with the old king Archibaldo and Manfredo dressed as German officers. Both Julian Gavin's Avito and Olafur Sigurdarson's Manfredo impress with their vocal cut and thrust, while the only thing missing from Mikhail Svetlov's Archibaldo is the suggestion that he too desires Fiora. Amanda Echalaz's doomed heroine, meanwhile, is sensational. Peter Robinson and the orchestra deliver a thrilling account of the piece, which Holland Park certainly re-establishes as a viable work.

· In rep until August 10. Box office: 0845 230 9769.