Rossini’s The Barber of Seville is the operatic equivalent of comfort food. , now in the hands of revival director Sinéad O’Neill, preoccupies itself chiefly with the business of looking good: on that count it succeeds, with Joanna Parker’s broadly Mediterranean set consisting of Moorish-influenced blue and white tiles, as well as 1950s costumes that combine notes of Hollywood and flamenco. In the Act One finale, upside-down harpsichords descend from the ceiling in a joke about Dr Bartolo’s obsession with music-making.