Using a text by Paul Claudel, Arthur Honegger's "stage oratorio" Jeanne d'Arc au Bûcher inhabits territory where religion and psycho-therapy seemingly intersect. Taking as its starting point a symbolic dialogue between Joan of Arc and her confessor Dominic, it depicts the saint conquering her fears of mortality by unravelling the meaning of her life, and reinforcing a sense of her spiritual identity by re-experiencing her childhood visions.

Intending the work as a multimedia piece, Honegger broke almost every rule in the musico-dramatic book. Joan and Dominic are played by actors. Solo singers, chorus and orchestra depict both the inner workings of their minds and the spiritual forces that assail them. The protestant Honegger brings in musical and religious references that extend beyond Claudel's severe Catholicism, alluding to the Bach passions and the tolling bells of orthodox ritual.

It's ideal for a festival, where the requisite performers can be assembled. Jeanne Balibar was the vulnerable yet assertive Joan opposite Philippe Girard's noble, consoling Dominic. Conductor Kwamé Ryan unleashed the sounds of heaven and hell round them. Playing and choral singing were both exceptionally vivid, while Lisa Milne, Sarah Fox and Jane Irwin were ravishing as the trio of saints waiting to receive Joan in paradise.