Richard Jones's absurdist production of Verdi's Macbeth caused ructions in some quarters when it opened at Glyndebourne last May. Reworked by Geoffrey Dolton, it forms the basis of the company's visit to this year's Proms, though whether it survived the transposition is debatable. Both musically and dramatically, it struck me as sitting uneasily in the vast space of the Albert Hall.

Enough remained for us to be able to get a sense of Jones's intentions. He makes much of the banality of evil and its ability to corrode the human mind. The tone is closer to Ionesco than to Shakespeare. Shorn of the set, however, and with the chorus seated behind the main performing space, there was simply too little detail for the staging to register fully, while the principals frequently gave the impression of faffing around in isolation. There was no blood on Macbeth's hands after the murder. The sight of Macduff and Lady Macbeth's waiting-woman executing a curious two-step at the feast cried out either for a wider theatrical context or to be jettisoned altogether.

More important, perhaps, is the fact that much of the performance seemed ill-adjusted to the larger space. In particular, the Macbeths - Andrzej Dobber and Sylvie Valayre - both sounded worryingly small-voiced. Valayre, very dark toned, was accurate, if unimaginative. Dobber, despite his problems with the acoustic, was remarkable in the title role - a slouching thug, prey to the inner nightmares of his psyche. The real hero, however, was conductor Vladimir Jurowski, who was wonderfully alert to the morbid, subtle colours of the score, and generated a tremendous sense of uncanny malevolence throughout.

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