Continuing their outstanding project of shadowing in real time what Mozart was up to 250 years ago, Ian Page and the sprightly forces of Classical Opera have reached Mozart’s first extended dramatic work: the first part of a sacred oratorio written as the 11-year-old arrived back in Salzburg after three years touring Northern Europe.

The subsequent parts by two other composers haven’t survived, but Mozart’s contribution remarkably sketches the man he will become, already tweaking the contemporary idiom to his own ends, adept at scene painting, and skilled at dramatic tension and comic pace. All these virtues shone brightly in Thomas Guthrie’s modest staging in Nigel Lewis’s light-hearted translation of this mini drama.