This writer will happily admit that Written on Skin did not exactly tag the senses on the first and second listens. It was only from the third onwards that it started to come together, and having now seen it performed it falls into place, with some reservations.

Based on the story of medieval troubadour Guillem de Cabestaing who falls in love with the wife of the Lord of Rousillon and has his heart cut out and eaten by said wife, Martin Crimp’s text has stuck to the fundamentals but laced it with references to the past and present such as humanitarian concerns and the treatment of women. This with George Benjamin’s intriguing score – he conducts the performances - that at times sounds as if it is only missing the kitchen sink, it asks a lot of the audience but that attention is well rewarded.

It is, however, debateable if Kate Mitchell’s split level, multiple room production (designed by Vicki Mortimer) is best way of presenting this work. It’s distracting as the attention tends to flit between the spaces, the performers moving within the set, and the slow-motion angels as they go about their business on the upper level.

Although there are five singing parts, this is basically a three-handed opera centring on the Protector (Christopher Purves), Agnès (Barbara Hannigan) and The Boy (Iestyn Davies). Returning to the role Purves is immense as The Protector projecting his fears, weaknesses and then brutal actions as he struggles to understand the situation he finds himself in.

This is stark during his exchange with Hannigan - who is enthralling throughout - as he finds about her relationship with The Boy.

Countertenor Davies is moving, singing beautifully and lending the part a tragic mischievousness. His destruction, because he did what he was asked, is grim but that it also leads to Agnès’s subjugation and torment is wrenching. Agnès’s death throes are tortuous in the extreme doubly so as they are played out in a grinding slow motion final sequence, that is almost unbearable to watch.

Performances 18, 23, 27, and 30 January 2017.

Photograph courtesy of Stephen Cumiskey and the Royal Opera House.

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