The Fool and the Opera Reviewer Paul Williamson is a bit frustrated with the excesses of the Aida staging, but as usual still finds plenty to likeAida is grand opera at its grandest, containing scenes requiring full and large chorus, processionals, dancers and animals, dealing with affairs of state, religion and the heart and, of course, expressing intense human emotions and passion. It is also an opera of many intimate scenes between the three main protagonists, Aida, the Ethiopian princess who is enslaved to Amneris, daughter of the Egyptian Pharaoh, and Radames, the commander of the Egyptian army who is caught in a political and emotional conflict between his secret love for Aida, his loyalty to Egypt and Amneris’ jealous love for him.
Not seen on stage in Melbourne since 1996 (
Victorian State Opera), this new production from
Opera Australia is directed by
Graeme Murphy (of
Sydney Dance Company fame and also designer of the OA’s wonderful
Turandot production in the early 1990s). It reflects his choreographic creativity and appreciation for colour and provides an opportunity to see this work presented in a different and more fluid way than the traditional productions with their heavy sets and formalised and static scenes. For me this contrast was anticipated as I had the privilege last week to see the New York Metropolitan Opera’s current production of Aida on HD screen at the cinema and therefore of being able to compare the two productions.
Unfortunately the contrast had me wondering why the OA production left me feeling a bit frustrated. There was much imagination and creativity to be seen, with interesting use of lighting designed by
Damien Cooper, multi-media projection from the
Brothers Gruchy, stunningly gorgeous costumes and flexible sets and staging all designed by
Roger Kirk, and much movement choreographed by Murphy himself. But the lighting projections and choreography were often irrelevant to the action and unfolding drama and certainly distracting to the eye. There was so much movement of both people and sets that often the cast looked uneasy and preoccupied with their stage directions rather than being fully focused on the dramatic action, their characterisation and singing. There were many interesting bits to this production but overall it did not come together in a coherent and satisfying whole.
But a good night at the opera is not made or broken just by the staging, and fortunately this production makes up in its musicianship what it lacks in its presentation. Aida requires experienced and mature voices which have considerable stamina for the heavy demands that this work places on the voice, whether soaring over an orchestra and chorus in full flight or expressing the delicate intimacies and emotions of the solos, duets and trios throughout the work. In the title role of Aida, American dramatic soprano
Jennifer Wilson has both the vocal power and lyricism to express the full range of emotions required for someone who is a patriot, a slave, a princess and a lover, but she could do with some help with her acting.
Her mistress and rival, Amneris is an equally complex and demanding role, having to reflect dignity as the Pharoah’s daughter, passionate and unrequited love for Radames, subtlety, manipulation, deceit and revenge in dealing with Aida, and ultimately grief at the loss of her heart’s desire.
Milijana Nikolic rises to this challenge as an extremely elegant and graceful princess, her velvety and rich mezzo-soprano voice growing in power throughout the opera after a slightly underpowered first act.
Radames is performed by
Rosario La Spina who captures the naivety of this character unable to realize until too late that he cannot have it all but will have to choose between Aida and exile on the one hand, or Amneris and Egypt on the other. In the end his inability to resolve this dilemma reveals his tragic flaw and leads to its consequence of death, but not without a final romantic twist. Apart from his somewhat wooden Act 1 opening aria (Celeste Aida), La Spina delivered a vocally powerful and accurate performance throughout.
The other solo roles of Ramfis, the High Priest (
Jud Arthur), Amonasro, Aida’s father and king of Ethiopia (
Barry Ryan), and the Pharaoh (
Shane Lowrencev) are all well performed, while special mention must be made of the Opera Australia chorus which gave its all in the big ceremonial scenes and revealed the choral unity and capacity that underpins Opera Australia.
Under the musical direction of
Richard Armstrong and the tight and accurate orchestral support of
Orchestra Victoria, this Aida proved to be a night of satisfying and at times beautiful music fighting against the excesses of an overly-ambitious production. This production is highly recommended for beginners to the art form.
Performance attended: Saturday 14 November
Posts
