“There’s no way out” repeats the unnamed female prisoner at the centre of Mark-Anthony Turnage’s monodrama Twice Through the Heart. She’s not wrong. Women rarely escape opera alive, even when they haven’t murdered their husbands. But if it’s a form that dooms them over and over again, it’s also one that gives them a powerful voice for their damaged, brutalised experiences.

This telling operatic double-bill, pairing Turnage’s 1997 work with the woozy psychodrama of Schoenberg’s Erwartung, doesn’t so much sing as howl its pain, offering two very different portraits of victimhood – two musical monologues haunted by men who may be absent, but who are far from silent.

The pairing is a thoughtful one, musically as much as thematically. Conductor Finnegan Downie Dear finds the distinctive sonic language of each score, drawing brutally precise and expressive performances from his young band, whether in Turnage’s guttural, rasping music or Schoenberg’s glittering handfuls of textural invention.