Ever since its world premiere 'The Duchess of Malfi' has shocked and wowed audiences in equal measure. The German premiere at Chemnitz Opera in March was no exception.

‘Sight, sound and smell combine to staggering effect as spectators wander through an office building, choosing which characters to follow. Their reward is a scenic tour, peppered with such hallucinogenic highlights as a forest of wire trees and naked figures in the dark. The lack of linearity heightens the atmosphere of John Webster’s macabre play. Meanwhile, Torsten Rasch’s opulent score, redolent of the composer’s idol, Alban Berg, ekes out the tension, particularly in the grand finale. It