Welsh National Opera’s annual autumn visit to the New Theatre began on Tuesday in fine style with a revival of Katie Mitchell’s 2003 production of Handel’s Jephtha. This, of course, is not an opera but a tune-packed oratorio — the composer’s last, and possessed of more than a hint of a valediction to his art. However, its sharply focused action — updated to a war-ravaged European country (unspecified) in the 1940s — makes it ideal for dramatic presentation.

British tenor Robert Murray made an impressive company debut in the role of the Israelite war lord called out of exile to lead the country’s beleaguered army against the Ammonites. Seeking the help of Jehovah, he recklessly pledges (Idomeneo-like) that he will, if successful in battle, sacrifice on return “what, or who’er shall first salute mine eyes”.

This, alas, turns out to be his daughter Iphis (soprano Fflur Wyn, in marvellous voice). Unlike Idomeneo, Jephtha is determined to hold firm to his promise, to the dismay of her mother Storgè (Diana Montague). She has already had a portent of trouble ahead — “Such ghastly dreams last night surprised my soul,” she rages, in what might seem a prototype for all operatic mad scenes. The girl herself embraces her fate, bidding farewell in an air of limpid beauty: “Brighter scenes I seek above/In the realms of peace and love.” In the event, the intervention of an angel (Claire Ormshaw) commutes her sentence to a life of enforced chastity. Her betrothed Hamor, superbly sung by counter-tenor Robin Blaze, appeared resigned to this in his utterances, though his body language told another story.

Thrillingly performed under conductor Paul Goodwin, and with the WNO chorus on top form (and much employed), this was a treat indeed.

WNO’s visit continues tonight with its new production of Puccini’s La bohème, which will be given again on Saturday. Mozart’s Così fan tutte, updated to the British seaside in the 1960s, will be heard tomorrow night.