Originally presented in 2002, David Freeman's arena staging of Bizet's opera is back for its third revival. It has undoubtedly seen better days; where it used to be sharply focused, some of the action has become fuzzy. Worse, the musical side is slacker this time around under conductor Gareth Hancock. Few of the individual numbers achieve a sense of forward momentum, and while it cannot be easy to co-ordinate substantial forces over such a vast space, the chorus is too often wide of the beat. There are a few minor cuts, but more damaging is a lack of clarity and precision.

Matters improve in the final act, where the entr'acte is enlivened by fire dancers, and the pre-bullfight parade offers spectacular feria-like appearances from a small army of jugglers and acrobats. The final confrontation between Carmen and Don José, too, develops an increasing emotional grip.

Elsewhere, Rachael Lloyd as Carmen struggles to establish the character's personality. Vocally, her performance is compromised by intonation problems and a recalcitrant top register. Dramatically, it's the dialogue that trips her up. In an evening during which Amanda Holden's clear English translation is delivered in a bewildering variety of accents, her top-drawer vowels suggest a socially misplaced Gypsy; why this Carmen should be involved with lowlife smugglers when a job as an estate agent in Knightsbridge would be hers for the asking is a mystery. For once, Elizabeth Atherton's cleanly sung Micaëla seems an altogether edgier choice.

The male leads are stronger. Kevin Greenlaw's Escamillo offers plenty of baritonal macho swagger, contrasting perfectly with Noah Stewart's insecure Don José. The role may as yet be one size too large for the rising star tenor, but his sensitive lyricism carries him through to success.

• What have you been to see lately? Tell us about it on Twitter using #GdnReview