08 Culture Diary: Stunning singing in 'forgotten' opera; OPERA Emilia di Liverpool/ St George's Hall Powerful and clever playing of revived work.

Byline: GLYN MON HUGHES

IT'S hard to believe Donizetti wrote more than 70 operas. Few, naturally, make it to the stage. Donizetti, in typically Romantic fashion, pinpointed places on the map and wrote an opera.

Oddities such as II castello di Kenilworth, for instance. Or Gianni di Calais.

And - most important in this Capital of Culture Year - Emilia di Liverpool.

It's been done here before, famously in 1957 when the late, great Fritz Spiegl "rediscovered" the 1828 version. But New Year's Eve saw another couple of firsts. It was the first performance of an opera in the Concert Room at St George's Hall, and evidence suggests this was the first modern performance of Donizetti's original score of 1824. And it was another milestone for the Liverpool-based European Opera Centre.

Supported by the Liverpool Culture Company, this was a minimal but clever production by director Ignacio Garcia and designer Elisabetta Pian.

The superbly dramatic all-male chorus was perched on the balcony and the orchestra on the stage, with action in the round.

It was a fast-paced work with some quite stunning singing, particularly from Belgian soprano Martine Reyners, who sang Emilia.

Also stunning was Bruno Comparetti as the wiry Federico, while Cozmin Sime's Claudio was dependable, if a little stiff.

The sometimes comic, sometimes tragic Don Romualdo had excellent support from Vicenzo Taormina.

Conductor Giovanni Pacor led a sprightly orchestra which provided its own comic interludes at times - Viva Espana was heard at one point - while the Count (Etienne Hersperger) went off, at one point, in search offish and chips.

It's a powerful, clever production which runs all this week.

CAPTION(S):

Belgian soprano Martine Reyners as Emilia, in Emilia di Liverpool