As we watch, the clichés of life in a mining community in the South Wales valleys in the 1950s are rolled out. But, so too, is the significance of those non-material things that sustain people, both then and now, at times of hardship. The sense of community and the support it provides. The importance of education and aspiration. The pride taken from cultural expression, especially from choral singing.

The brilliance of this opera lies in its use of a wide range of musical genres to play up the humour, the pathos, and the dignity. Swing meets yodelling, blues meets acapella, syncopation meets steady beat.

The effect of the whole is tongue-in-cheek, but never enough to slip into a tone of mocking. And, whilst the story arc follows the bringing together of a ‘Glee’ choir as a response to a terrible mining disaster, it is never allowed to become maudlin. To underpin this, at the end of the day, there is the gravitas and the beauty of the male voice choir.

Rather, the joy and the force of life take over as personalities shine through. There is the gravity of Dafydd Pugh, performed by the outstanding Jeffrey Lloyd-Roberts. There is the determination of Miss Price, performed by the steely Rebecca Evans.

And there is the boundless energy of Bronwen (Angharad Morgan), Blodwen (Lea Shaw) and Branwen (Angharad Lyddon), who manage to merge, quite wonderfully, elements of the Andrews Sisters with Gilbert and Sullivan’s Three Little Maids.

Other references also find their way in. Characters such as Pugh, Price and Probert steer us to the brilliance of Dylan Thomas’ Under Milk Wood, whilst the transatlantic address by Paul Robeson is a reminder of the support that mining communities have so often shown to other oppressed communities, and the ways in which this has been reciprocated.

Anthony, performed by Tehmba Mvula, a young man with a stage presence as captivating as his voice, portrays, as a man of colour playing a man of colour, how communities can be accepting of each other. Emlyn, performed by the captivating tenor Adam Gilbert, embodies the role of ambition whilst staying true to your roots.

Sets, with a 1950s feel to them, are integral to the piece, from front doors of terraced housing to communal showers at the pithead, winding gear constantly on the move in the background. Choreographed movement drives the production on, from Lindy Hop dance sequences to formal male voice choir stance.

As an extra, the audience at the Birmingham Hippodrome was treated to singing by the Birmingham Male Voice Choir on the way in, and what an enjoyable experience that was!

There is masterly craft at work beneath this opera. Uplifting to the end, Blaze of Glory tells us that, sometimes against the odds, life goes on and music gives meaning to life.

For Welsh National Opera, dealing with challenges of finance, this production, which premiered in 2023, feels like a trailblazer. It will surely be one that will stay close to its heart.

Blaze of Glory was Composed by David Hackbridge Johnson. The librettist was Emma Jenkins. The director and choreographer was Caroline Clegg.

For further information visit wno.org.ukwno.org.uk