The Nose is a bizarre, funny opera along the lines of an absurdist parable. To many viewers, they will leave hunching their shoulders afterwards and meh-ing their opinions, while others will concern themselves with defining the work as a shallow surrealist attempt or a vaguely profound statement on Stalinist oppression. The slapstick which abounds is more than over the top; it is over the railing and falling clear to the noisy, clueless spectators in the streets below; indeed, the opera succeeds on several levels, some of it perfectly visual and represented by the opening scene which take place in an upstairs barbershop, to an attic garret where lives Kovalyov, sung by Paulo Szot with sympathetic pathos , to a railing where people fleeing from some kind of repression mock the goings-on , the ludicrous intent of the writer and the gullibility of the audience. Also, there are four noses; the actual physical one of the lead official whose proboscis take a manual beating after continual