Benjamin Britten's opera Peter Grimes has been 'revived' by Opera North. It's an ironic choice of words for this much-loved Phyllida Lloyd production, as the opera includes the tragic deaths of two young apprentice fishermen and a suicide at sea - all of whom might have benefited from some revivification. Nonetheless, revived it has been, and new life has been breathed into this glorious staple of the opera world by revival director Karolin Sofulak.

Opera North never do anything by halves, and their production of Peter Grimes uses the full might of their orchestra and chorus to deliver an immensely powerful performance. With a simple painted seascape backdrop, a suspended fishing net and a dozen or so shipping pallets, the production team has managed to create a beach, a village and a pub. The cast, dressed almost universally in muted tones, blend into the background, and only their personalities and their tragic circumstances bring them to the limelight.

Peter Grimes is not a happy story. Our eponymous fisherman suffers from the death of not one, by two of his young apprentices. Rather than being supported by the people of his fishing village, they treat him with enormous suspicion - the word 'murderer' is bandied about all to often. Grimes tortures himself with the need to be successful (i.e., catch a lot of fish) in the belief that simple wealth will clear him of lingering suspicion, and he can finally marry and settle down as a respected member of the community. Sadly, tragically, this never happens and Grimes is advised to sail off and scuttle his boat at sea - much to the callous indifference of the village folk.

Britten's score is notable for both its emotional depth and its technical brilliance. It includes the famous "Sea Interludes", which are often performed separately as an orchestral suite. The music is quite uncanny in its ability to capture the tension between, and the psychological complexity of, the characters. It also has a remarkable feeling of 'place' - you can almost smell the sea air and you can certainly hear the crash and draw of waves on the shingle beach at Aldeburgh, in Suffolk, where Benjamin Britten lived.

The Orchestra of Opera North and tenor John Findon (Grimes) manage all the emotions of the piece with great success with some wonderful playing and an extraordinarily wide dynamic range. The orchestra at full tilt and the whole chorus proclaiming their loathing of Grimes is an immense and memorable experience. By contrast, Findon's final lament before sailing out to sea for the last time is pin-drop quiet, with barely a sound other than the plaintive wailing of a distant foghorn (courtesy of a solo tuba).

Poor Ellen Orford (soprano Phillipa Boyle) had the unenviable responsibility of being in love with Grimes, putting up with his moods swings, and seeing through this complex character to the real softie underneath.

As Ellen says "There'll be new shoals to catch. Life will be kind.", Peter replies " Ay! only of drowning ghosts. Time will not forget". Her passion is palpable, but she has a tough job ahead.

The two main attractions at the village pub, known euphemistically as 'nieces' (sopranos Nazan Fikret and Ava Dodd) were an appropriate splash of colour on the stage, adding a delightful lightness and frivolity to unwise irredeemable bleakness.

Some operas are entirely dependent on the lead soloists, others are formed from the ensemble. This opera is very much in the later camp and this performance highlights the immense strength and depth of the chorus of Opera North and the sheer quality of the in-house orchestra. I had the clear impression that Peter Grimes is a favourite of conductor Garry Walker, and it showed.

Peter Grimes continues at Leeds Grand Theatre, Theatre Royal, Nottingham, Lowry, Salford Quays and Newcastle Theatre Royal.
Full details can be found here.