Few if any operas can match Mozart’s The Marriage of Figaro for its combination of plot twists, memorable comic characters and sublime music.

A production slimmed for touring has the added responsibility of making all these work with the minimum of materials, especially musical ones.

Swansea City Opera’s version, by its artistic director Brendan Wheatley, achieves it in a way that makes for a balanced if sometimes undemonstrative effort.

The orchestra is reduced to minuscule size, with MD John Beswick’s keyboard switched to harpsichord mode for the recitatives and much else in his own (and Fraser Goulding’s) arrangement of the score.

Designer Gabriella Ingram’s set consists of a few props in Ikea-stressed style that convincingly suggest plush interiors and formal country-house parkland. The cast has an equanimity of voice that seems deliberately to go with the streamlining and thus places huge responsibilities on the principals at times when they are exposed.

But Andrew Mayor (The Count), Elin Pritchard (Countess), Aris Nadirian (Figaro), Helen Massey (Susanna), Rebecca Goulden (Cherubino), Imogen Garner (Marcellina), Brendan Wheatley (Bartolo), Martin Quinn (Basilio) and Georgina Stalbow (Barbarina) derive musical and dramatic strength from one another’s company - for examples, in the sextet’s act three comedy of errors and in the most vocal of happy endings.

The pace is keen throughout, which makes some of the speechmaking less than clear, even in English. There’s also some hamming and some slippage between voice and orchestra. But all in all it’s an entertaining show in accord with the opera’s spirit.