WHAT a tale. What a performance. What a setting. What talent.

Winterbourne Opera’s production of Gounod’s Faust was dark, dramatic and devastatingly brilliant.

Directed by Ben Occhipinti, it took place in the Chapel Nightclub within the Victorian gothic chapel – its imposing pipe organ a backdrop.

Sung in English using the original translation, the contemporary version was based around an ageing club entrepreneur who, in despair in the debris of his destroyed empire, makes a pact with the devil to sell his soul in exchange for eternal youth and success.

The venue was perfect with the cast of more than 30 singers (seven professional singers and a community chorus) using all available space from the pews and pulpit to the bar, and an orchestra of 11 in one corner, conducted by Calum Fraser.

The singers were superb. Their voices resonating, beautiful and heart-breaking. Jessica Broad (Marguerite) was exquisite as the fallen beauty, Colin Brockie (Mephistopheles) terrifying, Michael Solomon Williams (Faust) tragic, and Ian Beadle gave Valentin such depth.

Attracting young professional singers from across the country for its annual operatic production, Winterbourne Opera provides singers with the chance to gain experience in parts that would not yet be available to them in opera houses. Its alumni have performed at the Royal Opera House and Glyndebourne.

The company’s mission is to perform opera in unusual settings.

The former Methodist chapel, built in 1896, fell into disrepair once the congregation moved to St Edmund’s Church Street and its subsequent occupants, Elim Church moved out to new premises in 1989.

In 1996, the Grade II listed building began a new life, undergoing a year-long restoration by Jonty Newbery.

ELIZABETH KEMBLE