Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

OPERA TODAY ARCHIVES »

Performances

02 May 2010

No Elephants — Aida at the Royal Opera House, London

It’s time Verdi got attention in Aida, not elephants.

Giuseppi Verdi: Aida

Giacomo Prestia: Ramfis; Marcelo Álvarez Radames; Marianne Cornetti: Amneris; Micaela Carosi: Aida; Robert Lloyd: King of Egypt; Ji-Min Park: Messenger; Elisabeth Meister: High Priestess; Marco Vratogna: Amonasro. Actors, Dancers and Chorus of the Royal Opera House. Nicola Luisotti: conductor, Orchestra of the Royal Opera House. David McVicar ;director, Jean-Marc Puissant: set designs, Moritz Junge : costumes, Jennifer Tipton : lighting, Fin Walker : Choreography, David Greeves : martial arts director, Leah Hausman : associate director. Royal Opera House. London, 27th April 2010.

Above: Micaela Carosi as Aida

All photos by Bill Cooper courtesy of The Royal Opera House.

 

The blue elephant in Graham Vick’sTamerlano almost stole the show, but elephants were pointedly banned from this new production of Aida at the Royal Opera House, London. Instead, Verdi’s music takes pride of place, revealed in full glory.

Pre-performance publicity indicated that this would not be a stereotype production, but minimalist it certainly was not. Abstraction in many ways suits Aida, an opera of secrets and mysteries.

AIDA-©BC2010042169-ALVAREZ-.gifMarcelo Álvarez as Radames and Marianne Cornetti as Amneris

Large structures loom over the cast, for this is a drama where individuals are pitted against overwhelming forces. The simple, strong lines also permit a new kind of staging, created from light and colour.

No elephants, no circus. Instead the focus shifts onto Verdi’s music itself, revealing its magnificence without distraction. How glorious it is, heard as music! Indeed, it’s because Aida is so vivid orchestrally that we’ve become accustomed to associating it with grand panoramas. But music is in itself abstract. This time, the orchestral colours can be seen as well as heard. Shades of rose and ochre, scarab and peacock, amethyst and sand, glow iridescently, transforming as the music develops. Synaesthetes may overload, but this abstraction is surprisingly expressive, given the connection between visual image and music.

Nicola Luisotti conducted with flair..Tempi were on the fast side, but better that than too slow. Freed from the restraints of cumbersome staging, the orchestra’s pace matched the nervous energy in the drama. Violent moods, violent music. In the scene at the Temple of Vulcan, the Egyptians are working themselves up to a frenzy. Heightened emotion in the orchestra but less so in the dancing. The Rite of Spring style choreography would not have been out of place, but perhaps too much to expect. Strange, distorted shapes hang from the sky, like the corpses of the dead. When the prisoners shuffle in, they look like they’ve been in battle. As Aida (Micaela Carosi) reminds us, the Triumphal March may be triumph for some, but defeat for others.

In the third act, when Aida sings “Qui Radamès verrà,|” Carosi stands before a black and white panel, as stark as the dilemma before her. But when Micaela Carosi sings, the lusciousness of her music translates into washes of blue and green, evoking the dark, swift Nile and “cieli azzurri” above, her Egyptian present and memories of her native land. Carosi is a very experienced Aida. Her middle voice is secure, so the extremes in the part feel natural, rather than over-coloured. Aida is constrained, all around, by secrecy and the need for stealth, so she is a strong personality, and alert.

AIDA-©BC201004240654-PRODUC.gif

Marcelo Álvarez as Radames is a more conventional portrayal. He hectors, but then, Radames is a headstrong hero, eager for battle, but ennobled by the grace of love. His finest moment comes as he and Aida face death, when his voice softens and takes on a gentler tone. Marianne Cornetti was a forceful, forthright Amneris, and Marco Vratogna’s Amonasro suitably subdued.

Jennifer Tipton deserves much credit for designing the magnificent light show. David McVicar proves that abstraction does not mean minimal, and is just as valid musically as circus gimmicks.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):