You have to hand it to Welsh National Opera that in the post-Covid uncertainty gripping the arts they are still prepared to stick their necks out and tour new work.

And in Osvaldo Golijov’s Ainadamar, Birmingham Hippodrome audiences were treated to a bold hybrid of music, dance, history and reflection.

The opera, which lasts just 80 minutes with no interval, delves into the life and death of Spanish writer Federico Garcia Lorca. But it does so through a series of memories, images and thoughts being recreated by his muse actress Margarita Xirgu.

For any audience members who knew nothing of the plot, some of the initial scenes must have been somewhat confusing as we see Xirgu recreating her lead role as the Spanish rebel Mariana Pineda and recalling her memories of Lorca. As the production jumps between Xirgu’s present and past it can be difficult to work out what is fact and what is fiction.

But as the opera progresses it becomes clear – as does Xirgu’s terrible sense of loss and guilt at the death of Lorca who was assassinated during the Spanish Civil War.

Jaquelina Livieri gives us a Xirgu agonized by the past, full of regret that she was unable to persuade Lorca to follow her into exile. As she sees him again in her mind’s eye, so full of life and vibrancy, she is tormented by that guilt.

Hanna Hip plays a trouser role Lorca, suave and sophisticated as he strolls through a Spanish bar, confident and youthful, seemingly unaware of the troubles ahead. But we also see how risky his position will become as Lorca, who was both left-wing and gay, dances with men in Havana and praises Pineda at a time when either of these elements could be dangerous.

Hearing their story and vowing to take their legacy forward is Xirgu’s pupil Nuria, played by Julieth Lozano Rolong, as the link between the past and present.

The show also makes great use of Flamenco rhythm and dance, not least with an opening and closing solo dance by Isaac Tovar as a bullfighter. Spotlighted, he brings both power and majesty to the dance while also reminding us of the brutal blood which lies at the heart of the bull fight – and will be shed by Lorca.

Director Deborah Colker is the perfect choice to bring together this blend of dance, music and song, having built up an international reputation as both a choreographer and director. Under her guidance, the production ensures all elements are given weight and it is the interplay of each of the elements which makes this show so distinctive.

Jon Bausor’s design is ingenious and dramatic with the drama encased in a ring made of hanging chains which can be opened to create an inner stage but can also provide obscurity so it is both reminiscent of the Fountain of Tears (Ainadamar) where Lorca was killed and the bullring. The chains also become a backdrop for some impressive imagery by projection designer Tal Rosner including running bulls, droplets of water and revolutionary slogans.

The WNO Orchestra, under the baton of conductor Matthew Kofi Waldren, ensured Golijov’s complex score was fully expressed so that we felt pulled into the sometimes staccato rhythm of flamenco but also taken through the lyricism of the choral and solo pieces.

Produced in partnership with Opera Ventures, Scottish Opera, Detroit Opera and The Metropolitan Opera, this production has so much going on in such a short time it would benefit from a second viewing but sadly WNO have programmed the show for just one night in Birmingham. Hopefully it will enter the company repertoire and return for another visit in the future.

Four stars

In the meantime, WNO continue at Birmingham Hippodrome with Verdi’s La Traviata on 9-11 November and the matinee family show Play Opera LIVE on 11 November.