The brilliant scenery of Aïda opera

In reviewing the opera Aïda, Albert G. Storace (October 14) accredited its fine props to Paul Falzon.

To put matters straight, the artist Paul Falzon was not responsible for the props - the work of Alfred Camilleri, Jacqueline Bondì and Brian Crocker - but for the whole opera set, to which Mr Storace must have also been referring.

The scenery by Mr Falzon created the ideal Egyptian ambience and brought out splendidly the beauty of this famous opera, especially the Gloria ad Iside triumphant march in Act II.

The painting of the scenery involved a lot of work, both because it was being prepared for a large stage, as well as because it required the preparation and painting of no less than seven different scenes. Three of Aïda's four acts contain two scenes.

Mr Falzon's largest and most brilliant scene was that of the temple of Iside through the palms on the banks of the River Nile for Act III, a nine- by 13-metre painting executed with attention to detail. Mr Falzon also sculpted two sphinxes in polystyrene as well as the gigantic head of Pharaoh in Act I.

Mr Falzon, who hails from Xewkija, is slowly establishing himself as one of the leading set artists in Gozo.

Indeed, his set for the Aïda was undisputedly an asset in this year's production.