The Burning Fiery Furnace is Benjamin Britten’s noh-inspired chamber opera based on the first three chapters of the Book of Daniel, wherein three young men of Judah have their faith tested in the court of King Nebuchadnezzar; their refusal to worship his golden statue results in their being thrown into the furnace, but they are joined by an angel and come out of the furnace unsinged.

Scottish Opera’s production for the Lammermuir Festival took place at the crossing point of St Mary’s Parish Church, Haddington. A circular walkway enclosed the seven-piece orchestra, rising with steps at each side to a high platform. Cast, chorus and orchestra processed in to the plainchant Salus aeterna, the men of the chorus in trousers, shirt, tie and pullover, carrying the gowns they would later wear as courtiers. Douglas Nairne, doubling as Herald and leader of the courtiers, wore a yellow stole as well. The young men of Judah donned green parkas and black beanie hats.

The stand-out performance was Ben Johnson as Nebuchadnezzar. With lots of little gestures indicating his nonchalance as the King of Babylon, his voice filled the space without the words getting lost in the sound.  In due course, dressed in a gold lamé toga, he rubbed gold face-paint on his forearms and face, turning himself into the golden statue.

David Stout’s Astrologer, advising the king how to catch out the traitorous young men from Judah who wouldn’t eat and drink at the feast, hit exactly the right tone of insidiousness. Earlier, however, the words of his Abbot could have been clearer as he filled in the backstory and set the scene.

Director Jenny Ogilvie sent the orchestra processing round the church while playing big drum, brass and some rather jolly percussion, before the worshipping of the idol. The three young men – Benedict Nelson (Ananias), William Morgan (Misael) and Lancelot Nomura (Azarias) – were a mixture of brashly confident on setting out, diffident at the feast, fearful when the worship of the statue was announced and impressive throughout in their ensemble singing. Once they were cast into the furnace – a pair of hinged rectangular frames with chicken wire - O all ye works of the Lord with Tom Marland singing the Angel, was intense.

Derek Clark conducted the multitasking instrumentalists from the chamber organ, bringing out the various musical styles and colours. In their black courtier gowns, the men of the chorus conveyed menace and disdain, while the six child choristers charmed as the servers at the feast.

After the happy ending, when Nebuchadnezzar adopts the God of Judah and joins the faithful three in a joyful hymn, cast, chorus and orchestra processed out to the plainchant.