There is an inherent conflict in art responding to art; it begs the question, how does the homage react to its source material in a way that is both respectful and yet communicative of a distinct creative voice? Where is the personal authenticity of the artist if they are reimagining someone else’s vision? Devising something that can exist in isolation and yet also contributes to the legend of its inspiration is a complex equation to solve, and while Chamber Made Opera’s Another Other makes a valiant attempt at decoding Ingmar Bergman’s densely layered 1966 masterpiece, Persona, the result is ultimately impenetrable.

Flanking a central hub of mixing desks and laptops, two banks of seats, set opposite each other, are separated by a series of sheer fabric panels. With the four instigators of the piece – Natasha Anderson, Sabina Maselli, Anthony Pateras and Erkki Veltheim – sat between the two hemispheres of this performance space, we are offered a complex geometry of spatially controlled soundscapes and projected images. There are two digital clocks either side of the performers, one counting down, the other marking the passing of time, and on the outer edges of the room, a series...