In the Anvil Chorus some pop up through trapdoors, fingers gleefully in ears against the anvils’ deafening ding, while their colleagues caper and floss behind them. Thomas injects levity via the opposing armies, casting them as pitiful Pythonesque pawns. If he’s not the devil incarnate – and he might well be – he is at the very least a sinister Lord of Misrule, with half a dozen dog-like dancer-creatures to enforce his bidding. All is presided over by the Count’s henchman Ferrando, here elevated to be a controlling force, very well sung by Roberto Tagliavini. It’s surrounded by three concentric picture frames, which look beautiful from the front but won’t help sightlines.

The action takes place against a black, blank background, on wide steps that recall Barrie Kosky’s interrogation of Bizet’s Carmen, a production that divided audiences as much as I suspect this one will.

In its anarchic imagination and the precision with which its cruelty and crudity are executed, it feels inspired by Hieronymus Bosch – but with the lovers, Leonora and Manrico, lit as if by Vermeer.Ī 15th-century sensibility … Jamie Barton as Azucena, captured by Ludovic Tèzier’s Count di Luna. And so Thomas’s staging, designed by Annemarie Woods, finds ways to be entertaining without diminishing the tragedy. What if this far-fetched story of a doomed troubadour were to have been told by a troubadour itself? It would have been tear-jerking, certainly bloodthirsty – but definitely not po-faced: that would risk losing its audience. In its place is a kind of 15th-century sensibility, into which we enter through a curtain formed by the jaws of a monster straight out of a medieval bestiary.

At this point in Adele Thomas’s production, already seen in Zurich but new to London, reason is a distant memory, chased away by the mayhem of malignity on stage and the fervent music Antonio Pappano is whipping up in the pit. ‘I ’ve lost all reason!” sings Count di Luna halfway through Verdi’s Il trovatore – and fair enough.

Download carmen opera