Dmitri Tcherniakov is an interesting and controversial director.  He’s not afraid to take a very radical approach to a work and that method tends to produce uneven results.  At it’s best, as in his Berlin Parsifal, it’s extraordinary and sometimes; his Wozzeck for example, interesting but perhaps not exactly revelatory, and,again, sometimes; as in his Don Giovanni, polarising.  That said he never does anything merely to shock or show off.  There’s always a logic to what he does and that’s certainly true of his quite radical version of Verdi’s Il Trovatore filmed at Brussels’ La Monnaie in 2012.

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