Donald Maxwell, head of Opera Studies at the Royal Welsh college of Music, shares his knowledge and experience of every aspect of the operatic world with his aspiring students.This was instantly shown at Eastbourne when with his forthright manner and immediate rapport with his audience.

Determinedly involving both performers and listeners from the very first moment, Donald invited his graduate singers to introduce themselves.

Donald began by asking Richard Rowe to sing an aria from Mozart's Cosi fan Tutte, Un'aura amorosa, with Stephen Bishop providing sensitive piano accompaniment.

He then asked Richard to repeat it with wider hand and arm movements, then moving about the performing area, each time asking the audience to indicate their preferences. Small arm movements, or more expansive ones? The audience mostly preferred the more physical presentation. Donald emphasised that throughout every aria there must be dramatic thought as well as musical thought.

Sitting casually beside Mike Barber, Donald discussed the finer points of Figaro before Mile stood up to essay the role of Bartilo in the finale to Act One. Donald impressed upon him to have the 'courage' to stand still. 'Presence' may be greatly enhanced by being confident to remain in one spot. He demonstrated that it is not necessary to move the whole body, merely to turn from side to side to encompass the whole audience.Eliana Donald considered the role of Rosina in Rossini's Barber of Seville.

He remarked upon her very pleasant personality.They then essayed a scene from Die Fledermaus with Mike in fine fettle as the Prisoner Governor, followed by Donald joining with Eliana in the baritone and soprano duet.

Probably the most familiar aria of the evening was Musetta's Waltz Song from La Boheme, As Through the Streets, which Eliana accomplished with ease. Donald asked her to portray it first in balletic form, then in a fuller stage version. He assured her that she should be confident of being gazed upon, a sentiment with which the audience entirely agreed.

The second half centred on two scenes from Stravinsky's The Rake's Progress, . Based on the Hogarthian prints, this work is considered to be one of Stravinsky's finest.

The audience by now thoroughly relaxed, cooperated readily when required, obviously enjoying the interaction of Eliana as Anne Truelove and Richard Rowe as Tom Rakewell.Donald emphasised that singing in English the words must be absolutely clear and definite, an instruction which the singers carried out with precision.

Elizabeth Muir-Lewis thanked the audience for their ontribution, for some of whom this was probably their first experience of this 'peep behind the scenes', and the unseen helpers who made the event such a success.

This was part of the Eastbourne Festival.