David McVicar's production is bold, brash and irresistibly seductive, as befits one of French Baroque music's most ravishing scores, here receiving its first professional British staging.
The heroine ends up murdering (or causing to commit suicide) almost everyone in sight. The context is war: McVicar's solution to the period problem is to set his drama in the Second World War. He has clearly encouraged choreographer Lynne Page to have fun, but the strength of the piece lies in the way the drama keeps faith with the music.
In the title role, Sarah Connolly is both commanding and heart-rending.
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