The Summer Opera programme brings together two works from opposite ends of the operatic timeline -  Henry Purcell’s Dido and Aeneas first performed in 1689 and Ethyl Smyth’s 1923 Fête Galante.

On first glance there is little common ground between an opera set in classical times retelling the myth of the Queen of Carthage and her doomed love for the warrior Aeneas and a domestic drama between a group of clowns. But director Daisy Brown brings them together by setting both within a club where the worlds of backstage and onstage collide.

Dido is no longer a classical queen but a performer in the club, her best friend Belinda is a fellow dancer and Aeneas is simply a guy who visits the club. To people probably less versed in the classics than audiences of the 17th century this works pretty well – after all a doomed love affair transcends any timeframe or location.

There is though the odd moment when it feels a little anachronistic – would a modern day boyfriend leave his great love simply because a clown tells him Jove has decreed it? And while some will love Dido’s final scene as she is transformed into a clown with echoes of the idea of a fool for love others may feel it reduces the final tragic scene.

Elissa Street gives us a proud and sorrowful Dido from the opening scenes. She may no longer be a queen but there is a regality to her performance and Street is hugely confident in the role delivering a heart-rending lament When I am laid in earth.

Charly Browne’s Aeneas is full of tenderness until ordered away which makes his departure all the harder to bear. Anyone would love Millie Royle’s Belinda as their best friend as she constantly chivvies and supports Dido. And Laura Toomey’s Sorceress has just a touch of the pantomime baddy about her.

Smyth’s Fête Galante moves us to the stage of the club where the performers are now the clowns Pierrot, Columbine and Harlequin. When the three become tangled up in the secret affair of the Queen with a barman, jealousy and tragedy follow.

William Swinnerton gives us a dolorous Pierrot both when Pierrot is on the stage and as he sits in the bar later singing that he is glad to finally be alone. Abigail Baylis’ Columbine is full of energy and zest for life which makes her fatal mistake all the more pitiful.

Matthew Pandya is a King who is powerful one moment but then a desperate man when he discovers his wife has betrayed him and India Harding’s Queen hovers between loyalty and giving in to her own desires.

The singing across both shows is high quality, as is the music conducted by Harry Sever. Dawn Allsop’s sets and costumes are lots of fun, taking inspiration from the world of burlesque and the circus.

There is little doubt that many of the young performers are hugely talented and this double bill at The Bradshaw Hall is an opportunity to see them on stage before they step into the limelight in their future careers.

Four stars

The Summer Opera was reviewed by Diane Parkes on Thursday 12 June at Royal Birmingham Conservatoire, where is continues to show until Saturday 14 June.