Opera Correspondent Stuart Macbeth enjoys two classic Verdi operas - despite the chuckles and snores

Ellen Kent's Nabucco set Friday night off with a bang - coloured lights and dry ice transforming the New Theatre's stage into a scene from Ancient Jerusalem.

This opera, Verdi's first smash hit, tells the tale of Nebuchadnezzar, the Babylonian king who gives his name to the 15 litre wine bottle I had concealed in my rucksack. There were no live animals or any of the other gimmicks Ellen Kent is famed for in this production, just lots of lavish sets and some very fine singing. 20 year old Olga Busuioc excelled as Nabucco's adopted daughter Abigaille, her voice loud and clear over the orchestra pit. And Romanian tenor Sorin Lupu's thrilling portrayal of Ismaele helped to bring the power of Verdi's music to the fore.

Nabucco's best known tune "The Chorus of the Hebrew Slaves", was performed in sombre blue costume and greeted with heartfelt applause - only slightly marred by the snoring of the woman in Row S seat 36. As usual with Ellent Kent even the intervals were lavish - two gleeful 20 minute spells in which to grab a drink from the bar, revive your backside, and ensure that - even for the suffering spouses of opera addicts like me - this remained a night of entertainment rather than an ordeal.

Some opera snobs who look down on Ellen Kent may have preferred the cast to be crawling about in a black perspex box dressed in postmodern jodhpurs - or something along those lines. But this very traditional production, with its Cecil B DeMille scenery and fast-paced action, really did it for me. Well worth the price of a ticket.

There was also good singing on saturday in Aida, Verdi's opera set in Ancient Egypt - with solid performances from French soprano Olga Perrier in the title role and Sorin Lupu, again on top form, delivering a marvellous "Celeste Aida".

Oxford Mail:

Nile style: Aida

I was less impressed with the slighty naff sets - I'm sure it's impossible to come up with an authentic representation of Ancient Egypt on stage - but it would help if the rigid walls of the King's Palace didn't sway violently back and forth at a pindrop. As for the Priests of the Dead, I can only assume they were having a night off. Wobbling props and the grim chuckles of the audience sadly detracted from the drama.

Oxford Mail:

Aida: Solid performance - unlike the set

I say Italian food was only invented so there was something to eat while listening to Verdi - and Ellen Kent is back in Oxford next February with another two more Verdi operas, Rigoletto and La Traviata along with her production of Puccini's Madama Butterfly. The advert for Rigoletto warns that "some scenes contain nudity". I am off to book my ticket - NOW.