`Definitely a light-hearted look at an art form' Verdi once said `How wonderful opera would be if only there were no singers'.

On Tuesday night his wish was granted as Opera Flutastic presented a programme from Gluck to Wagner on instruments which ranged from a Louis Lot flute (the equivalent of a Stradivarius violin) to a contraption which looked like Heath Robinson indoor plumbing. This was definitely a light-hearted look at an art form which is far too often mistakenly regarded as far too serious, and the audience loved it.

With a few well-chosen words from narrator Edward Blakeman, whose humorous banter punctuated the evening, the assembled musicians launched into an arrangement of the overture to `Zampa' by Herold.

A comical reconstruction of the legendary `Orfeo and Euridice' so that the flute was central to the literary theme - a technique used repeatedly by Mr.

Blakeman -transported us back over two hundred years to Elysian fields and Gluck's lovely `Dance of The Blessed Spirits'.

It was heartwarming, not to mention unusual, to see such distinguished artists clowning with such obvious enjoyment, and a great delight when, with feather boas and a colourful array of improvised costume, they performed excerpts from Mozart's `Magic Flute'.

Here the highlight was definitely Adrian Brett's `King of the Night' and the famous `Der Holle Rache' played on an instrument which looked suspiciously like a tin whistle... and Pamina thought she had problems with her mother before Mr. Brett's dramatic disclosure -- what an identity crisis! Taffanel, a flautist in the Paris Opera in the nineteenth century, wrote a Fantasia for solo flute based on music from `Der Freischutz' (The Free-Shooter) by Carl Maria Von Weber.

Brilliantly rearranged for four flutes and accompanied with great panache by Clifford Benson, this was a sparkling end to the first part of the programme.

After the intermission, a reconstructed overture based on `The Magic Flute', "The Barber of Seville'. `William Tell' and bits unknown signalled more fun to come.

Trevor Wye -- bass flautist extraordinaire -- who has real comedic flare, attempted the Mad Scene from Donizetti's `Lucia di Lammermuir;' Lucia actually does sing at this point in duet with the flute. Although Mr. Wye played beautifully as one would expect, and despite his veil and dramatic stance, he just wasn't convincing as Sir Walter Scott's tragic heroine.

One magnificent moment, also on the theme of tragic heroines, was a flute trio in which William Bennett played the solo `Casta diva' from Bellini's `Norma'.

Again it must be said that Mr. Bennett did not look remotely like a Druid high priestess invoking peace from the moon, but his playing of the wonderful aria had all the necessary pathos -- quite magical.

By coincidence, Opera Flutastic had arranged some of the melodies from `Rigoletto,' presently being performed during the Festival by Midsummer Opera.

This was a happy clash since it was excellent advertising for Verdi's masterpiece.

From Purcell to Benjamin Britten, nearly three hundred years, there isn't much opera to speak of in England -- but of course there is operetta! Displaying his socks of red, white and blue in a burst of patriotic fervour, Trevor Wye heralded the British contribution to the evening... the Gavotte from `The Gondoliers' by Sir Arthur Sullivan.

Another tale from Edward Blakeman -- certainly not true -- and based on `Madam Butterfly' gave the irrepressible Mr. Wye the opportunity to follow this up with `One Fine Day' on a converted bicycle pump.

With heads adorned in Norse helmets, the entire company took to the stage for the finale, an arrangement of Wagnerian melodies with stylish piano accompaniment provided, as usual, by Clifford Benson.

This was an evening of great music and laughter which ended with an encore and a gunshot -- all very different -- all very entertaining.

Marjorie Pettit THEATRE REVIEW REV THR