Djamileh/The Seven Deadly Sins -- Leeds Grand

Resurrected from the forgotten ashes of opera history -- Djamileh and The Seven Deadly Sins assaulted, bullied and leapt upon the senses.

The two productions -- the last to debut in Opera North's Eight Little Greats season -- pulled no punches with their depiction of sexual slavery, prostitution, rape, incest and the exploitation of women in society.

Unreserved credit goes to Opera North for attempting such a complex and groundbreaking project as staging eight one-act operas for the masses -- but Djamileh (pictured) left me slightly cold.

The singing was wonderful, but Bizet's tale of a monied, seedy Haroun, his sidekick Splendiano and submissive sex slave Djamileh evoked little sympathy or understanding for the characters.

After her allotted month at Haroun's beck and call, Djamileh has fallen in love with her master and plans to disguise herself as her own replacement.

She does so and reveals her love for Haroun who in turn declares his feelings for Djamileh -- before killing her that is.

Keighley's Paul Nilon (Haroun), Mark Stone (Splendiano) and Patricia Bardon (Djamileh) were all excellent and easy on the eye -- much the same as Rebecca Caine (Anna I) and Beate Vollack (Anna II) in The Seven Deadly Sins.

The two Annas form part of the same split personality -- sent forth from their abusive hick home to encounter seven US cities and seven deadly sins along the way.

The destructive Anna II succumbs to sin in each city, much to the annoyance of the practical Anna I.

By the end of their journey, Anna II's spirit is crushed and you feel genuine sorrow for the character's hardship.

This was a well staged, modernised opera and a joy to watch -- despite its brutality.

Stuart Roberts

An Intimate Evening With Lesley Garrett -- St George's Hall

She came, she sang, she conquered.

Doncaster diva Lesley Garrett treated her audience to a wide repertoire, ranging from opera, Celtic folk, jazz and pop numbers.

From blasting out Greensleaves, to softer Scarborough Fair and caressing Purcell's Dido's Lament, Lesley staged a one-woman variety show.

On the pop scene, she performed a magical arrangement of Lennon and McCartney's Let It Be, ably backed by the brilliant flair of the Northern Sinfonia, and Sting's emotionally charged Fields of Gold.

But the best was left to last. An upbeat version of Jerusalem brought tears and a deserved standing ovation.

Ralph Badham