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HomeOperaThe Opera Tattler: Aida on the Met

The Opera Tattler: Aida on the Met


IMG_1411* Notes *
I regarded as skipping the Saturday night efficiency of Aida (Act II ovation pictured), as my flight out of New York left within the morning, however Sonja Frisell’s manufacturing is being retired, so I might by no means have any other likelihood to look it in particular person. I’ve attended a efficiency of this Aida manufacturing again in 2009, however I used to be at a rating table and didn’t see it. It’s not anything kind of impressive, even with out elephants.

Designed by means of Gianni Quaranta, the set may be very grand, with huge palace halls and watery vistas at the banks of the Nile. There are many ballet dancers and horses. Dada Saligeri’s costumes glance very a lot in step with an Historical Egyptian environment. It used to be simple to be stuck up in all of the drama of such an elaborate staging.

The orchestra sounded simply as grand below the baton of Maestro Paolo Carignani. There have been some stunning oboe and flute taking part in. I used to be additionally inspired by means of the brass, there used to be handiest the slightest trace of fuzziness within the trumpets one time for the entire Triumphal March. I felt a little unhealthy that the target audience stored clapping for the horses because it disrupted the fantastically performed track. The refrain additionally sounded fabulous, very in combination and potent.

This used to be in all probability the least impressed solid of the 3 operas I heard in lower than 48 hours. Bass Krzysztof Bączyk (the King) sounded skinny and quiet, despite the fact that bass-baritone Christian Van Horn used to be tough as Ramfis, all of the extra spectacular for the reason that this used to be his 2nd display of the day. Baritone George Gagnidze used to be a gritty Amonasro. 

Tenor Jorge de León (Radamès) has numerous energy and conveys longing smartly, however there isn’t a lot nuance, he mainly sounds the similar it doesn’t matter what phrases he is making a song. Mezzo-soprano Olesya Petrova is an airy Amneris, she did really well with Act II, Scene 1. Listening to her voice within the closing a part of the opera used to be haunting, I in point of fact preferred how the level diminished together with her on it, as the 2 enthusiasts are buried alive underneath. Soprano Angela Meade used to be the famous person of the night, and as Aida that turns out completely suitable. Her voice has wealthy, earthy tones, and there’s something about her vibrato this is apparently textural somewhat than painful. Her duet with de León on the finish of the opera, “”Invan! Tutto e finito … O terra addio” used to be implausible.

* Tattling *
This time I used to be again in Circle of relatives Circle, however in an aisle seat with a partly obstructed view. It handiest intended that there used to be a railing in a part of the level for me, however this straightforward sufficient to forget about. There used to be no person at once in entrance of me, and the girl to my proper used to be adamant about discovering a greater seat at intermission. She insisted that the person she used to be with come take a seat together with her in higher seats after the second one intermission as smartly, and it used to be so transparent to me that i merely stayed status so he may just get by means of extra simply.

There have been a couple of lozenges unwrapped right through the track, however much less coughing. No watch alarms had been famous, or mobile phone rings. Somebody in Balcony Field 11 took a video of the Triumphal March along with his telephone.

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