IT'S a cautionary tale - the Devil may have the best tunes but they come at the highest cost.

Gounod's once ubiquitous opera Faust might have fallen out of favour somewhat in the past half a century but whatever price Swansea City Opera paid to bring this production to life it was certainly worth it.

I've followed the fortunes of this company since its Opera Box Days and for me it reached it highest point - to date- with this pared down but impeccable performance.

That it was well sung is something SCO audiences have come to expect but for this production the design, lighting, set and costume combined to create one of the most effective evenings of small scale opera I can remember.

At the centre of the production was Mark Saberton (pictured) as the Baron Samedi-esque Méphistophélès.

Musically dominating with his rich baritone, the character's initial appeal slowly turned sour as dark plans were slowly revealed and he led his corrupted follower down increasingly anfractuous paths.

The excellent use of the well designed slum-like set with its hidden entrances served only to add to the sinuous drama of Brendan Wheatley's clever direction and added immeasurably to the sense of claustrophobic decay and deviance which pervaded the entire production.

In the title role Alberto Sousa's tenor counterpointed well with his cavatina Salute demur chaste et pure an undoubted highspot of the first half of the evening.

Likewise Angharad Morgan's Marguerite provided a beacon of, albeit flawed, hope with the familiar Jewel Song an undoubted delight.

Her part in the opera's moving climax dominated by its illuminated cross and redemptive choral theme, provided an emotional and visually and musically stunning end to the evening.

Excellent vocal support came from the rich mezzo of Alexandra Cassidy as the unfortunate Siebel, Caroline Carragher as Marthe and Hakan Vramsmo as Valentin - O sainte médaille was an impressive moment.

Further sterling support was added by members of the Gwent Bach Society who added depth and quality to the chorus work - which so often suffers with smaller companies.

The orchestra led by John Beswick added hugely to the overall enjoyment, although there were moments when it did threaten to overpower.

Thankfully these were all too brief and could not create the slightest dent in the enjoyment of a superb evening.

If there was any doubt as to Swansea City Opera's place in the artistic echelons of the Principality surely this is the production to banish it. Long may the company's banner fly.