IF multidisciplinary collaborations appear par for the course in 2016, it’s worth remembering we weren’t always so well accustomed to them. Take the 17th-century trend of masques; although the apologetic alternative label ‘semi-operas’ may not do them justice, its awkwardness certainly reflects the bemusement they are often met with.

Working out how best to stage these conglomerations of music, drama and dance often proves just as challenging today. THE tantrums and twists of The Fairy Queen, Purcell’s 1692 adaptation of A Midsummer Night’s Dream, were relayed by narrator-cum-compère Jason Darnell, who delivered Andrew Pinnock’s specially devised text with debonair wit, initially hurling snippets of Shakespeare’s original into the chaos of post-Brexit politics.

A talented ensemble of vocalists morphed and moulded themselves admirably to every change of scene and character. Even before the interval, the irrepressible Matthew Brook portrayed both a gallivanting drunk and an amorous cad to hilarious effect, yet in between delivered ‘Hush, no more’ with heartfelt poignancy.

Among many excellent performances, Bethany Seymour, Caroline Sartin-Smith and Jonathan Hanley all exhibited particular warmth and sincerity. Even Peter Seymour helped propel the on-stage drama, leaving his harpsichord for a star-turn as Bottom.

The exuberant Yorkshire Baroque Soloists fizzed and bristled through Purcell’s score, a compass in the face of narrative complications. Ultimately, it’s the capricious humanity of the music that helps us to accept The Fairy Queen for what it is: still riveting more than three centuries later.

Review by Richard Powell