Donizetti’s neglected Siege of Calais has found a champion in the English Touring Opera, who were the first to professionally stage it in the UK. James Conway’s revived 2013 production, which rounded off ETO’s visit to Durham’s Gala Theatre, showed there was much to be commended in the work.

Set in the Hundred Years War, the opera tells story of the citizens who offer up their lives to save their city from the besieging English army; a sacrifice immortalised by Rodin’s bronze The Burghers of Calais.

The themes have as much relevance today and Conway has transposed the action to Stalingrad. Samal Blak’s simple but effective set, featuring a large concrete pipe and shattered ruins, could be a scene from any trouble spot in the world.

Donizetti was an exponent of bel canto, which translates as beautiful singing. And there was plenty of that on offer.

The chorus sang with athleticism and fervour from the outset. Their first setpiece as they hunt down Aurelio (Helen Sherman), who has slipped out of the besieged town to steal some bread, was quite thrilling. Sherman, for her part as the trousered hero, sang with conviction throughout.

Nicholas Merryweather was to have played the dastardly Edoardo was indisposed. Gareth Brynmor John stepped into his boots to give a commanding performance.

Within the city walls, Craig Smith sang with a beefy baritone as an authoritative Eustachio, steadying the nerves of the citizens as they faced hunger, despair and a spy in their midst.

Aurelio’s wife Eleonora was played by Paula Sides, who sang with tenderness. Her duets with Sherman were mesmerising.

Conway has trimmed off the last act, which provides for leaner account. It ended with a moving setpiece as the sacrificial offerings are led off to their fate. The momentum on stage was driven with flair from the pit by Jeremy Silver.

Gavin Engelbrecht