There were dozens of banner-carriers, the 90-strong San Carlos choir, the principals resplendent in their chinoiserie, drum-beaters, slaves. And in the background columns streamed with gold against the black of The Forum.

The ending is not by Puccini (the composer died of cancer, and the last 20 minutes were finished by another). But by the end of the opera, it had all the emotion, grandeur and show-bizzy business which makes the music so thrilling.

This was a ''people'' production, so the sets by Paulo Trevisi, while huge in size, were vividly simple in concept. The first act was played in front of three curtains, each with a stylised shield over a scrim through which other characters - executioners or Turandot herself - could be seen. This backing for a ferocious lion dance was ideal. The other acts were played against darkness, with the wavy golden columns and throne offering the only contrast.

But the people were magnificent. Unlike Hong Kong operas, the chorus and extras were human, moving and spontaneous. The costumes either glittered or, in the case of the ''common people'' had a greyness which stood for their own misery. Musically, The Forum had to cheat and use hidden microphones. But this was only noticeable in the upper reaches of the auditorium. Nearer the stage, the natural voices shone.

First that splendid chorus, which took Puccini's stylised Chinese music and made it so dramatic. Next, the orchestra, which though not great, wasn't sloppy either. Turandot was sung by Galina Savoya. She had arrived only a day before the performance, butMs Savoya has sung the role so many times that it held no terrors for her. Perhaps the most unremittingly difficult part for any soprano, it was played by Ms Savoya straightforwardly, loud, assured and unflagging.

Vitaly Taraschenko was similar. Just as nothing is romantic in this depraved story of a man-eating virago, so Taraschenko played with the full force of his lungs, lustily and accurately. (Ironically, the only poor staging was during Nessun dorma which he played like a moonstruck teenager.) Others in the cast glittered and glistened. But because of its extravagance Turandot had massive appeal.

Opera-lovers still have a chance to see and hear the grandeur of real opera. Tomorrow evening is the last performance and seats are still available.