10 May 2013
Aida, Manitoba Opera
Poor Aida! She never seems to have anything go her way.
Bernard Haitink has what is absolutely necessary, yet more often than not lacking, to conduct a Mahler symphony, indeed to conduct any symphony worthy of the name: the ability to hear it in a single span and to communicate in performance that ability. That is not, of course, in itself enough to ensure a successful, let alone a great, performance, but its absence will be fatal.
In many respects, this second ‘Festspiel-Barockkonzert’ made for an intriguing pendant to the previous night’s premiere of Les Indes galantes. All of the music was earlier than Rameau’s opéra-ballet, some of that in the first half - the programme was broadly but not pedantically chronological - considerably earlier.
Baroque opera has long been an important part of the Bavarian State Opera’s programming. And beyond the company itself, Munich’s tradition stretches back many years indeed: Kubelík’s Handel with the Bavarian Radio Symphony Orchestra, for instance.
All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.
Can one justly “review” a streamed performance? Probably not. But however different or diminished such a performance, one can—and must—bear witness to such an event when it represents a landmark in the evolution of an art form.
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
Poor Aida! She never seems to have anything go her way.
From the opening scene of Manitoba Opera’s lavish production of Verdi’s beloved four-act opera, we knew the ill-fated Ethiopian title princess (disguised as a slave) was conflicted.
Canadian soprano Michele Capalbo is the embodiment of the long-suffering Aida, in love with Radames, captain of the guard. In dramatic stance, she sang of her contradictory loves for her father, the Ethiopian king, her country and Radames. We could feel her heartbreak through the passion of her lithe singing in “Ritorna vincitor”, every note crafted to shimmering perfection. Capalbo’s ability to make the softest pianissimo note build and swell into a booming fortissimo is nothing short of extraordinary. (And she makes it seem easy.)
Aida’s love interest, Radames, played by Puerto Rican tenor Rafael Davila returns her affection, proclaiming his love eloquently in Celeste Aida, forma divina, sustaining the ultimate B-flat with impressive assurance. Davila’s robust voice is versatile, enabling him to exude the confidence of the conquering hero, yet also portray the sweet lover to the hilt. Only a slight crack in his voice as he reached for the upper register in “Pur ti riveggio, mia dolce” Aida signalled some fatigue.
Here’s where things got complicated. Aida’s employer, Amneris (Italian mezzo soprano Tiziana Carraro) daughter of the King of Egypt, also loves Radames. Amneris is determined to marry Radames, but suspects that Aida is her rival.
Carraro has a true presence onstage, with her sultry walk and strong features. Her velvety, somewhat throaty vocal quality aptly conveyed her jealous doubts. One distracting tendency, however, limited her ability to engage the audience. As she sang, she cast her eyes downward, only looking up when she stopped singing. She never looked out beseechingly for empathy; rarely looked at her singing partners, even when declaring love to Radames. This denied any real chemistry between characters.
David Watson sang the role of the King of Egypt with his customary reliability and wonderful clear diction. Tenor Terence Mierau took his brief role of messenger to heart, giving it an impassioned performance and it’s always a pleasure to hear the fine, pure voice of Winnipeg soprano Lara Ciekiewicz, resplendent here as the High Priestess.
All eyes were drawn to bass Phillip Ens as Ramfis, High Priest of Egypt in his gold-encrusted robe. He brought the requisite grandeur and authority to the role, his bold delivery and rumbling voice almost shaking the ground.
We didn’t see baritone Gregory Dahl (Amonsaro, King of Ethiopia/Aida’s father) until late in the opera, but his warm, powerful voice and commanding presence were worth the wait.
Of special note was the superbly balanced ensemble work — every individual voice distinguishable. And the tomb scene was unforgettably touching, with Capalbo and Davila pulling on the audiences’ heartstrings as they sang their final and most desperate final words.
Mounting this work boasting over 100 performers onstage was an awe-inspiring accomplishment for director Brian Deedrick and stage manager Robert Pel.
As an entertainment piece, this presentation has it all — ornate, gilded sets, Egyptian friezes and a gigantic sphinx-like head designed by Roberto Oswald, lavish costuming from Edmonton Opera, and lighting by Scott Henderson that subtly assisted us to predict the action as it shifted with the mood.
The women’s chorus in the boudoir scene sang with flowing youthfulness, while the men were all pomp and power. Athletic dancers, several from the Royal Winnipeg Ballet Aspirant Program leapt across the stage wielding knives and swords. And the Winnipeg Symphony Orchestra in the pit was in good hands with conductor Tyrone Paterson, with just a few discrepancies in tempo between singers and orchestra. Bravo to the brass section for its authentically triumphant, military majesty.
This was an impressive production of mammoth proportions superbly crafted in every detail.