From the House of the Dead review: A nightmare piled upon a nightmare

Dostoevsky's grim tale of Siberian incarceration and brutality was bravely tackled by Janacek in his last opera.

It’s not supposed to be a picnic, but in a convincing production the opera reveals and celebrates the spark of humanity found in even the most degraded individuals.

Krzysztof Warlikowski has a reputation as one of the most rewardingly provocative of modern directors, but making his UK debut here he crashes abysmally.

Malgorzata Szczesniak’s grey, metallic, contemporary prison is suitably alienating and Warlikowski proceeds to populate it with a bunch of criminals that defy empathy.

The mimed plays of the second act, Don Juan and The Miller’s Beautiful Wife, are enacted as cheap porn with inflatable dolls. Not only is sordidity piled on misogyny, but it’s utterly chaotic and confusing. Three interpolated sequences of individuals pronouncing on justice, punishment and death are riddled with banality, the onscreen surtitles obscured.

Janacek’s glorious symbol of freedom, an eagle that flies away, is replaced by an aspiring basketball player who finally nets the ball — or not.

Warlikowski makes a valid point about racial injustice, and a breakdancer flaunts his talent in the face of authority. But neither provides the emotional uplift the work demands. Nor was much redemption offered by Mark Wigglesworth, emphasising the score’s oppressive repetitions rather than any lyricism.

There were strong performances from Johan Reuter (Siskov), Stefan Margita (Luka), Willard White (Alexandr) and Nicky Spence (Nikita).

Warlikowski describes the work as a journey into Hell. Last night certainly felt like that.

Until Mar 24 (020 7304 4000, roh.org.uk)