Five productions. Forty-five nights. One house, lit red.

Ashdown's first full-length opera takes the last hour of the Tristan legend and turns it around: Isolde wakes before the ship lands, alone on the headland, and the whole score is what she decides to do with the morning. A chamber chorus of twelve stands in for the sea. Commissioned by Ravensgate with the Harlow Trust.

Loredan's grand melodrama of a Venetian widow who marries a glassblower to keep her title, then learns his furnace is heating the city's rumours. Anja Solberg's production moves the action into a single hall of mirrors that slowly fills with smoke across the three acts. The famous second-act sextet is sung unamplified from the stalls.

Nine songs, nine rivers, one winter walk across a country that no longer exists. Rell wrote the cycle for baritone Anders Lund in 2019; this is its first performance with the full Ravensgate Orchestra and a 60-voice chorus placed in the grand circle. Lighting by Ines Quiroga, no set, no costumes.

A shipyard on the Scheldt, a strike that lasts a winter, and two sisters on opposite sides of the gate. Verheyen's score sets a brass band against a string quartet and lets neither win. Revived with the original cast and Tomasz Wróbel's steel-plate set, which the company has kept in storage for four years for exactly this.

The night the city switches to electric light, one lamplighter refuses to go home. Kane's score borrows from music hall and brass-band hymns; Sato's libretto gives the streetlamps their own chorus. Ninety minutes, one interval, and a children's chorus of forty drawn from the Ravensgate Saturday school.