Like the fairytale on which Rossini’s opera is based, Opera Holland Park’s new La Cenerentola feels familiar – and it’s a lot of fun. Oliver Platt’s production uses a vaguely period setting inhabited by characters who evidently enjoy a modern sense of irony, despite their corsets, top hats, riding jackets and powdered wigs (a motley wardrobe designed by Neil Irish). The wicked stepfather and sisters revel in garish Technicolor, on a collision course with the prince’s altogether classier monochrome. Emma Brunton’s choreography swings between stasis and hyperactivity, the chorus often synched with comical precision to Rossini’s music. There are silly voices and silly walks, gags about height, Hollywood kisses and even baldness.

As ringleader in the OHP big top, Dane Lam was endlessly energetic and uncompromising on rhythmic detail. And if the balance wasn’t always perfect, the City of London Sinfonia’s wind and brass made compelling arguments for pushing forwards, while the strings, ever suave, kept their cool.

The singers vied to out-camp each other. Jonathan Veira’s Don Magnifico was a true buffo, gleefully rattling off his patter, his dramatic timing spot-on. As his daughters, Fleur de Bray (Clorinda) and Heather Lowe (Tisbe) were deliciously nasty; Nico Darmanin’s gleaming, hard-edged tenor brought touches of bathos to his panto Prince; Nicholas Lester was a suitably charming Dandini.

Injections of sincerity were supplied by Victoria Simmonds in the title role. Her mellow tone, carefully negotiated coloratura and generous phrasing stood out amid the silliness – a merciful reminder that this opera has other things to offer.

• At Opera Holland Park, London, until 30 July. Box office: 0300-999 1000.