The ANU has mounted a courageous production of Monteverdi's L'Orfeo, claiming that it "explores how modern digital technologies might enhance the theatrical presentation", offering a practical means "for turning a concert hall into an opera house". Unfortunately, digital technologies and visual projections could not compensate for an inability to hear the singing clearly. Audience members struggled to hear the soloists and the vocal discipline of the enthusiastic chorus was muted by poor acoustics.

Led by Rachael Beesley, the orchestral sound had an authentic delicacy and responsiveness. Under Peter Tregear's direction the dynamic balance of the orchestra was carefully maintained and the musicians were sensitive to their role as accompanists. A magnificent collection of keyboards - a hexagonal spinet, Flemish Harpsichords (single and double), a continuo organ and a Regal - created exquisite textures. It was a shame that the cavernous stage acoustic interacted with fan noise (from either the air conditioning or the large projectors on the upper level) emanating at a frequency that masked the vocalists. Amplification for the singers would have remedied this.

Nicholas Mulroy was confident in the role of Orfeo, and when I could hear him, his consummate ornamentation and vocal animation was true to the beauty of Monteverdi's score. His duet with Paul MacMahon in Act V was a highlight. MacMahon's performance was assured and his vocal register ensured that the part carried well. Veronica Thwaites-Brown's appearance as La Speranza also provided a moment of illumination.

While the textile colour harmonies were pleasing, the costume designs were a mystery to me, apparently blending eastern exoticism with a touch of pirate couture. Movement by soloists also seemed to be constrained by the design.

Experimentation with digital design in association with stage performances is to be applauded. Alessandro Chiodo and Andrew Quinn who provided the lighting and digital projections for L'Orfeo have long experience in this field. The projections were most successfully integrated in Act IV in the evocation of Pluto's underworld kingdom. Here, the waves generated in response to the harp melody created quite lovely patterns, presenting a visual counterpoint to the programmed wave movements. Stunning astral bodies represented in points of light courtesy of the ANU School of Astrophysics blended effectively with Orfeo's assent into the heavens with Apollo in Act V, but the giant pulsating star was not such a convincing addition to the backdrop.

This production of L'Orpheo will be remembered for the creative and collaborative focus of a large and committed cast, orchestra and stage team.