The Trilogy takes mercifully few liberties with the various source material, including Mandela’s celebrated memoir ‘The Long Walk to Freedom’. The opera is joyful in tone but never attenuates the tragic indignity of the Apartheid regime. And as much as the piece honours its hero, Nelson’s failings as a husband and father – particularly his infidelity – are not conveniently side-lined.

The production team are resourceful in their use of the Southbank Centre’s compact space; a much easier task now that, according to director Michael Williams, the show is smaller in scale than when it was first performed. With the Orchestra taking up half the Royal Festival Hall stage, the cast still stride and high kick their way enthusiastically within these confines. Behind them is a large screen displaying song lyrics, scenery and newsreels.

Whereas the scaling down of the production might be advantageous to the modest set design, it could also explain some of the unfortunate omissions from the narrative. There is no mention, for example, of the role played by Mandela’s comrades; significant but frequently overlooked anti-apartheid activists such as Oliver Tambo and Walter Sisulu.

The most moving scenes are to be found in Campbell’s inspired second act. In particular, the acappella duets between imposing, soulful baritone Peace Nzirawa (Mandela 2) and his trio of female co-stars Pumza Mxinwa (Evelyn: Wife Number One), Candida Mosoma (Dolly: Mistress) and Siphamandla Yakupa (Winnie: Famous Wife Number Two).

The gripping second and third act signal a gear shift with Mandela’s sheltered and comparatively privileged existence behind him and long, painful years of struggle ahead.

Yet the ‘Mandela Trilogy’ never loses its triumphant spirit, even during the sobering moments. In addition to Van Dijk and Campbell’s vibrant scores, the celebratory air could come from knowing that the story ends in hard-won victory. Either way, this jubilant oeuvre is a befitting tribute to a spectacularly eventful life.