London Philharmonic/Parry, Royal Festival Hall, London

Operas of major composers are rarely neglected without some good reason – a muddled libretto, an uneven score, a lack of theatrical impetus. Yet the almost total oblivion, until recent decades, of Rossini's "azione tragica in two acts" Ermione seems unaccountable.

True, the premiere in 1819 was an unexpected flop; true, its inclusion of no less than three florid high tenor roles makes for casting difficulties. Yet, based on Racine's Andromaque, the piece is tightly structured and colourfully scored and innovates in its mixing of operatic set-forms of the day.

The very Overture is a surprise: launched with gravity, then veering towards the more typical Rossinian rum-te-tum, but periodically interrupted by the chorus lamenting the fall of Troy. Act One lavishly sets up a particularly complex amorous-political predicament. Pirro is betrothed to Ermione but has fallen in love with the captive Andromaca. The Greeks, led by Oreste – who is besotted by Ermione – order Pirro to kill Andromaca's son lest he found another Troy.

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Act Two is half as long but twice as dramatic as Ermione, torn between love and vengeance, orders Oreste to kill Pirro, then turns on him in remorse and finally succumbs to madness in music which, in overriding formal boundaries and screwing up excitement almost anticipates Verdi. This Opera Rara concert presentation was fortunate to field a genuinely dramatic soprano Ermione in Carmen Giannattasio, with the technique to negotiate Rossini's fiendish flourishes, but oodles of emotion as well.

Among other principals, South African-born Colin Lee sounded authentic, if a little tight-voiced in the stratospheric tenor role of Oreste; Paul Nilon in the equally demanding role of Pirro seemed a bit pressured, but the young Turkish tenor Bulent Bezduz as Oreste's sidekick Pilade was bright with promise. Patricia Bardon as mezzo Andromaca was generous-toned but a bit approximate in some of her more dramatic runs and turns.

David Parry marshalled the Geoffrey Mitchell Choir and London Philharmonic with unfailing vigour, the LPO woodwind audibly relished the many interjections, soulful or perky, that Rossini wrote them, and a capacity audience seemed happy indeed to have caught up with Ermione at last.