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

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

A culinary coupling from the Guildhall School of Music and Drama

What a treat the London Music Conservatoires serve up for opera-goers each season. After the Royal Academy’s Bizet double-bill of Le docteur Miracle and La tragédie de Carmen, and in advance of the Royal College’s forthcoming pairing of Huw Watkins’ new opera, In the Locked Room, based on a short story by Thomas Hardy, and The Lighthouse by Peter Maxwell Davies, the Guildhall School of Music and Drama have delivered a culinary coupling of Paul Hindemith’s The Long Christmas Dinner and Sir Lennox Berkeley’s The Dinner Engagement which the Conservatoire last presented for our delectation in November 2006.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them.

Iestyn Davies and Fretwork bring about a meeting of the baroque and the modern

‘Music for a while/Shall all your cares beguile’. Standing in shadow, encircled by the five players of the viol consort Fretwork, as the summer storm raged outside Milton Court Concert Hall countertenor Iestyn Davies offered mesmeric reassurance to the capacity audience during this intriguing meeting of the baroque and the modern.

OPERA TODAY ARCHIVES »

Performances

Sondra Radvanovsky as Aida and Marcello Giordani as Radames [Photo: Dan Rest/Lyric Opera of Chicago]
17 Feb 2012

Verdi’s Aida at Lyric Opera, Chicago

In its current revival of Giuseppe Verdi’s Aida Lyric Opera of Chicago approaches the challenges of the ambitious score with a cast well suited to the music and to the drama.

Giuseppe Verdi: Aida

Cick here for cast and other information

Above: Sondra Radvanovsky as Aida and Marcello Giordani as Radames

Photos: Dan Rest/Lyric Opera of Chicago

 

Under the direction of conductor Renato Palumbo the Ethiopian slave Aida is sung by Sondra Radvanovsky, Amneris by Jill Grove, Radames by Marcello Giordani, Ramfis by Raymond Aceto, Amonasro by Gordon Hawkins, and the King by Evan Boyer. At the start of the overture Palumbo emphasized soft, legato playing among the strings with the cellos standing out in gradual contrast. In the middle segment of the overture familiar melodies associated later with specific characters and scenes were etched out with clarity and crisp playing. A return to piano delicacy rounded out the overture fittingly under Palumbo’s direction.

In Act One soon after the announcement by the priest Ramfis that direction will be given to the Egyptian army the first scene of divided loyalties features the officer Radames. Torn between his military ambitions and his love for the slave Aida, Radames gives vent to his emotions in the celebrated aria, “Celeste Aida.” Mr. Giordani sings here with an open, clarion approach, the top notes taken forte and with full confidence. In contrast, his final thoughts of the beloved are sung with an effective diminuendo. Mr. Giordani’s conception of the role and the complexities of character deepen as he proceeds into the following acts, so that softer modulations evident later appropriately enhance the initial impression given here. At the subsequent appearance of Amneris, daughter of the Egyptian king, Ms. Grove struck a challenging figure by infusing an Italianate sense of line with extremely effective low pitches. Her duet with Radames was occasionally overshadowed by the orchestra, yet Ms. Grove’s thrilling and secure top notes left her emotional ambitions for Radames clearly dominant.

At the entrance of Aida the musical scene develops into a trio in which Ms. Radvanovsky’s skillful piano singing suggested gradually oppositional relationships. Such a conflict is intensified in the following two scenes, first in the presence of the King and second in the temple of Vulcan. When the King, sung with well-controlled declamation by Mr. Boyer, announces Radames as the chosen leader to thwart the Ethiopian invasion, the soloists and chorus declare their enthusiasm. In response to the choral cries of “Ritorna vincitor!,” Aida sings her celebrated aria of the same line with intersecting thoughts on homeland and love. Here Radvanovsky’s middle range was especially well deployed with touching diminuendo and a beautifully produced final note on “soffrir.” In the final scene of this act located in the temple politics and religion focus again on the forthcoming battles and prayers for the victory of Radames and his troops. The choral exposition was here appropriately emphatic. As Ramfis the high priest invested Radames with the ceremonial sword, both Aceto and Giordani expressed their devotion with a noteworthy sense of legato.

Aida_Chicago_09.gifSondra Radvanovsky as Aida and Jill Grove as Amneris

In the first scene of Act Two Amneris discovers indeed the secret of Aida’s love for Radames. In their duet Grove and Radvanovsky were dramatically convincing in their exciting duet “Fu la sorte.” Grove’s powerful notes on “Trema!” after confirming the truth expressed her determination to exact revenge. In response, Radvanovsky’s touching pleas on “Numi, pieta” drifted into the air but remained unheeded. As the outcome of the battles dominates the start of the next scene, Ethiopian prisoners are brought in after a parade led by the victorious Radames. A ballet conducted in honor of the King was especially well performed. The vocal ensemble with, on one side, Aida and her father Amonasro as an Ethiopian prisoner, on the other, Amneris, the King, and Radames was well staged and seamlessly conducted. The act ended with Grove’s triumphant declarations in response to the King giving her hand in marriage to Radames.

The single scene of Act Three of Aida on the banks of the Nile has often been emphasized for its dramatic and vocal significance. In this production the realistic atmosphere in the scene was introduced by a boat seeming to glide along the river. After Ramfis utters a prayer for Amneris and her marriage in the temple, Aida sings her romanza, “O patria mia,” surely a highlight of these performances. Radvanovsky assumes a bel canto line in her approach to the aria with exquisite high notes taken on “mai piu” and at its conclusion. In the following duet with her father Amonasro (“Ciel, mio padre”) both Radvanovsky and Hawkins show strong emotional commitment communicated through vocal line and use of rubato. During her impassioned exchange with Radames, Aida finally convinces her lover to flee (“Fuggiam”). The floating piano notes at the end of the duet belie the violent ending of the act when Radames is taken prisoner after the accusation of Amneris.

Aida_Chicago_24.gifScene from Aida

The final act of Aida places Radames in both scenes with the two women vying for his affections strategically divided. At first Amneris attempts to regain control by convincing Radames that she agrees to his defense before the judges. Grove’s transition from hushed notes to a dramatic top gives the impression of unhinged emotions. This heightened tension is enhanced during her duet with Radames. Once he refuses the intervention of Amneris, he also abandons himself to the tribunal. In response to his sentence of death Grove hurls a final dramatic curse at the judges with blood-chilling fury. In the final scene of Act Four Aida joins her beloved in the tomb to die at his side. Radvanovsky and Giordani sang their final duet, “O terra, addio,” with a renewed freshness as though their love formed a bridge to another world. As they sang their final notes in piano unison, Grove’s chants of “Pace” put a seal on their earthly life.

Salvatore Calomino

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):