Mozart's The Marriage of Figaro is a comic opera that first premiered on May 1, 1786, in Vienna, but is brought bang up to date in this witty, fizzing production directed by Louisa Miller. Performed in its original Italian, with highly amusing modern translations in the surtitles by Lydia French, Figaro is as accessible and entertaining as a Brian Rix bedroom farce.

The Marriage of Figaro is often considered one of Mozart's greatest operas. With its strong characters, social themes, comedy and particularly its treatment of class conflict, the opera was subjected to considerable censorship when it was first performed.

The opera tells how servants Figaro and Susanna succeed in their plans to marry despite the persistent efforts of their philandering employer, Count Almaviva, to seduce Susanna. In the process, they teach him a lesson in fidelity.

The very thought of a servant outwitting a Count must have seemed both hilarious and incendiary to a 1780s audience although, despite his evil intentions, it's hard not to feel sorry for Count Almaviva. This is a day he will long remember.

The set and costume design by Madeleine Boyd immediately bring this production right up to date. There's a wonderful warmth and familiarity about the design that makes it all the more accessible, which has to be helpful for newcomers to opera. Gone are the powdered wigs and massive frocks of the late 18th century, but the social and political themes of class conflict remain undiminished. Indeed they are given new exposure in this thoroughly modern treatment.

The opera features numerous arias and ensemble pieces, showcasing Mozart's genius in blending humour with emotional depth. Notable musical moments amongst many include Figaro's Non più andrai and Cherubino's Voi che sapete.

Valentina Peleggi conducts a fabulous cast, including Hera Hyesang Park as Susanna, Liam James Karai as Figaro, James Newby as Count Almaviva, Gabriella Reyes as Countess Almaviva and Hongni Wu as Cherubino. There is great richness here, right across the ensemble: wonderful voices and captivating acting.

Both Figaro (bass-baritone Liam James Karai) and Susanna (soprano Hera Hyesang Park) are seemingly effortless singers and consummate actors with a lightness and precocious charm that sticks in the memory, and baritone James Newby and soprano Gabriella Reyes delightfully illustrate the credibility of the nobility and the fragility of a crumbling social order.

The Marriage of Figaro remains one of the world's most performed operas, and this production is a valuable addition to that enduring legacy. Bringing the opera up to date makes it accessible to a new audience, and it was a pleasure to hear so much giggling during the production. Franky, it is a hoot!

The Marriage of Figaro continues at Leeds Grand Theatre, Theatre Royal, Nottingham, Lowry, Salford Quays, Newcastle Theatre Royal and Hull New Theatre.