A powerful performance, bringing together the cinematic landmark that is the 1928 silent French film of Joan of Arc's trial, and a live soundtrack by the Orlando Consort (joined by bass singer Robert MacDonald), using vocal music of the period.
The cinematography is notable for its almost overwhelming concentration on facial expression, an intimacy that was enhanced by a venue bringing the screen close to the audience, though marred by poor sightlines for some (and the subtitles at critical points in the story were needed).
A more distant ethereal sound in a larger space might have given a greater sense of the music as a backdrop to the film.
But the very proximity of the singers soon became a good reflection of the film's portrayal of the judges and soldiers crowding in on Joan.
The Orlando Consort's performance was entrancing, and with faultless programming of (mostly religious) music, critical moments in the trial were picked out by changing moods and carefully timed silences.
The starkness of 14th and 15th century music to modern ears drew out the horror of the medieval psychodrama playing out in lingering close up on screen.
Four stars
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