Welsh National Opera's 1997 production of Carmen, by Patrice Caurier and Moshe Leiser, has always been one of its biggest hits: a darkly atmospheric affair, notable for its lack of sentiment. Since the French/Israel duo's new Traviata is proving to be a troubled production - with the company's music director Tugan Sokhiev unconvincingly citing cast illnesses as his reason for withdrawing from the rest of the run - this Carmen revival proved the ideal opportunity for both chorus and orchestra to remind themselves just what they are capable of as an ensemble.

Solidarity and conviction were very much the bywords here. Staff director Robin Tebbutt had renewed the shine on the chorus characterisations: the bullring scene, where the exuberant crowd lines up along the front of the stage, held back by a single cordon, remains one of the most simple but striking images. Conductor Michal Klauza seemed to sense the mood of the moment and his spirited conducting moved things on swiftly.

Nora Sourouzian's Carmen was warm and earthy, capable of unleashing a rich, full sound at the top, but the middle of her range suffered occasionally from being slightly flat. Her initially languid disdain developed into a more tortured awareness of a doomed fate, and it was the card scenes, where death is always writ large, that brought her most passionate singing.

As Don José, Rafael Rojas was robust of tone, punching everything out with apparent ease, but it proved a mixed blessing. The sound was unvarying, body language inflexible and acting verging on the zombie-like. Daniel Sumegi was no more charismatic as Escamillo, more bullish than bullfighter, his fight with Josélumbering, and the mauve cape of his toreador's outfit looking distinctly silly.

By comparison, the women of the cast fared better - credible at least - with Camilla Roberts making her mark as Micaëla, but this was primarily a night to salute chorus and orchestra. Theirs was the presence that made itself felt.

· Touring until July 17. Details: 029-2046 4666.