After Ovid is an ambitious, rich media opera created by a community of talented undergraduate music students at the University of York.

The opening Birth Of Chaos whispered into being against a stunning visual mountain range backdrop. Or did it?

Suddenly there was man-made chaos – Nazi Germany, the atomic bomb, Vietnam, etc.

As the narrator closed, harmony ensued. Ben Clark’s Rumour was both colourful and rhythmically engaging. Grace Winpenny’s Two Young Lovers retold the touching story of Pyramus and Thisbe. Here the juxtaposition of simple melodic narrative with one in transformation was effective.

The Fall Of Troy opened with a touching cello and double bass duet lamenting the Death of Hector and included a lovely solo by Elaine Wai.

The First Act highlight was Andrew Hume’s Narcissus, where an excellent string quartet provided fine support for Danny Purtell, in a moving portrait of self-destruction.

The Second Act opened with Joe Steele’s splendid Daedalus And Icarus. Baritone Jake Muffet sang with poignant conviction with splendid vocal and instrumental support from the ensemble.

From eerie beginnings, Elemental Transformation gradually settles into a comfy tonal world with rude awakenings. It was a strong piece and very well performed.

Cassiopeia Berkeley-Agyepong’s rhythmically driven movement was both quirky and fun while Will Mackie’s ambient sound world provided the strongest correlation with the often beautiful, symmetrical screen imagery.

The opera ended with a plague on all their houses, well Aegina’s, anyway. Chaos reigned – the movement was completely nuts and I loved it. A great credit to all, especially Ambrose Field.