OPERA North opened its tour of Britten’s operatic masterpiece with aplomb.

The opera, receiving its first production by that company, is a realisation of Henry James’s short novel and contains a thought-provoking mix of issues relating to sexual abuse, innocence and parenthood, wrapped in a chilling ghost story that interestingly predates the writings of Sigmund Freud.

Britten/Piper’s opera characterises the story with a zeal, the plot suiting Britten’s stark use of texture and modality with brilliance and reflecting his own troubled sexual history.

The set design and direction of newcomers Alessandro Talevi and Madeleine Boyd that portray the story and issues with economy and inventiveness.

The scene is dominated by the Governess’s bed, center stage, reflecting the uncomfortable sexual politics and dream state in which the ghosts appear.

Aspects of the story are magnified by engaging techniques such as shadow play, in which the children’s horseplay takes on sexual tones, and puppeteering, notably in a chilling scene as Flora sings of the lake where people go to die, playing out the scene secretly with dolls, including ‘Miss Jessel’, the female ghost, that appears eerily, an echo of ON’s work with composer Mira Calix on Dead Wedding (2007).

The orchestra, conducted by Richard Farnes, is rhythmically tight, expressive and carries off the exposed solo woodwind material brilliantly. The opening material as the governess travels to her new charge is thrilling, rhythmic and joyous.

Credit especially goes to the “children” – Fflur Wyn and 13-year-old James Micklethwaite – whose portrayal of the alarming sexual ambivalence and capriciousness of Miles is disarming and mature.

Also of note is newcomer Benjamin Hulett, portraying an unusually human, cartoon-like Peter Quint, reinforcing the idea of psychological threat – an engaging and impassioned performance.

Elisabeth Atherton as the naive governess gave a strong performance. The final trio between Miles, the governess and Peter Quint was heartbreaking and beautifully performed.

Opera North productions are in general hard to fault, and this new production is an energetic, youthful and well thought-through production of a classic opera that deserves high attendance.

• Turn Of The Screw is at the Grand Theatre, Leeds until October 21 and will then tour the north of England until November 17. More info: operanorth.co.uk, Tickets: 0113 243 9999

Review by Edward Caine