In such a gigantic undertaking, the KSO redefined what constitutes a collaborative enterprise. The orchestra under Maestro Yoshimi Takeda was expanded to provide for separate on-stage instrumental ensembles, imperial-sized trumpet calls and unusual instruments such as gongs, wooden, rhythm sticks and more.

In the vocal realm, the Kalamazoo Singers Community Chorus led by Thomas Kasdorf brought more than 125 voices to the back of the stage on risers. Several dozen singers in the Battle Creek Boychoir, directed by Brooks Grantier, made entrances from the left balcony wing. Meanwhile, a contingent of marvelous women student dancers from WMU was very effectively choreographed to reinforce the shifting mood of the tale.

The performances of all these groups was uniformly fine, a remarkable feat in fact, given that every cubic inch of stage space was fully occupied much of the time.

Not enough can be said about WMU's provessor William Appel who masterfully "staged" the opera so intelligently that few in the audience were even aware that it was not a fully produced opera.

To indicate the Chinese palace of Turandot, set designer Douglas Blickle built oriental-style archways on both sides of the stage, with tall lantern posts spaced in the central stage area filled by the KSO. Behind the chorus was a simple temple roof design, to further suggest the palace setting.

Stunning oriental costumes, using brilliant colors and headdresses, brought the fable to brilliant life, as created by costumers Patience Vaughan and Elaine Kauffman.

Pamela Kucenic-Motisi reveled in the role of Turandot, the prototypical "ice princess" of China. Posessed of a giant soprano voice, Kucenic-Motisi pierced Miller's huge hall innumerable times with exciting singing, revealing a well-placed high tessitura.

Every bit as splendid was Xiao-Jun Deng, the Chinese tenor who has won numerous top vocal contests. His tenor posesses a sheen and a bite, making t ideal for the brave but audacious role of the Calaf.

Liu, sung with loveliness by Yi Ru Wang, a recent Pavarotti contest winner, presented both fine acting and exquisite vocalizing. Edward Russell's Timur exhibited a good bass and effective acting, as well.

Meanwhile, Takeda displayed brilliance in fusing together the components to produce one of the most exciting and satisfying Turandots anyone could wish for.