La Clemenza di Tito, Opera North, Grand Theatre, Leeds, review This may be contemporary and chic, but it's also weirdly empty and uninvolving, as we are given no idea why anyone is motivated to behave they way that they do. Banishing the chorus to the pit (an economy measure?) only increases the sense of something happening in a hermetically sealed capsule. But the show looks good, and even if its pace is sabotaged by some perversely slow tempi adopted by conductor Douglas Boyd, the drama is acted out with some conviction by an excellent cast. Annemarie Kremer isn't quite as strikingly successful with Vitellia as she was with Norma here last year, but she negotiated the role's technical challenges with cunning intelligence. The infatuated Sesto, interpreted here as a gloomy alienated sociopath, is smoothly and confidently sung by Helen Lepalaan, as is Paul Nilon's poised, priggish padre of a Tito. Henry Waddington is a stalwart Publio and Fflur Wyn a charming Servilia, but for me the biggest news of the evening is young Liverpudlian soprano Kathryn Rudge as Annio: her cleanly produced tone, supple musical phrasing, and sensitive colouring of words combine with a vividly attractive stage personality to make something special. It was at Opera North that we first encountered Alice Coote: Kathryn Rudge has the same star potential. Until February 22, then touring to Newcastle, Belfast, Salford and Nottingham. Tickets: 0844 848 2700; operanorth.co.uk Follow Telegraph Opera on Twitter