Fabio's fabulous Aida at the Royal Opera House

Aida - Royal Opera House, 19 March 2011

I feel sorry for anyone who hoped to hear Luisi conduct Aida and now won't, because on Saturday night he did a superb job. He never achieved the blood-and-guts, life-and-death heights that Pappano can - but then how many conductors do? We're extravagantly spoilt in that respect.

On every other count it was hard to fault him. The orchestra played with spirit and refinement, the singers were wonderfully supported, and Luisi held enough back to make the big moments tell - the third act climax was a heart-racing eruption. He took the music at face value and invested it with a colour and delicacy that belied the work's reputation. It sounded fresh and new.

And all that despite the godawful fugliness of David McVicar's production assailing his delicate aesthetic sensibilities at every turn (incidentally, he was correctly dressed from spiffy shirtstud to polished pump, and emerged without a single crease).  What a champ.

Nice knowing ya Fabio, bye.

The singing was pretty good too, certainly an across-the-board improvement from last year. Poor Roberto Alagna wasn't in the best of health, cracking horribly on the final note of Celeste Aida. He slipped or falsettoed his way through the heights throughout, but reserved enough energy to blaze out thrillingly in a few short bursts. Still he deserves credit for going onstage without whining, doing his best, and not disappointing his many fans in the audience.

Liudmyla Monastyrska displayed the makings of a great Aida. The voice, dark, penetrating and rock-solid, is there already. A few lines of O patria mia were genuinely stirring, but mostly her expressive capabilities were matched more to music than text, making the dramatic effect oddly inert. And I only caught about five words all night. But considering how little rehearsal she must have had, it was a creditable showing that bodes well for her Lady Macbeth in May.

All the directorial effort, it seemed, was spent on the animated scenery provided by the bare-bewbed and blood-drenched background perfomers, whose commitment suggested they were auditioning for something far better. Olga Borodina, like the rest of the principals, was left to her own devices. Reverting to primeval type, she made a suitably imperious Amneris, though without that touch of tenderness that might have sparked her concern for Radames with real conviction. Apart from a slight lack of bloom at the top end, there's little wear on her magnificent voice. I have to congratulate her on fighting for the costume changes too - she cut a much more regal character than her predecessor.

Can I hope we've seen the back of this production?

 

 
 
 
 

Comments

[Tracey]

This was the first time I have been to the opera, and I was so excited at the prospect. I thought I had prepared well, familiarising myself with the story, the music, the libretto, and I settled down in real anticipation, looking forward to a sumptuous auditory and visual feast. Unfortunately, my research had been incomplete. I hadn't thought to check that this would be an authentic and faithful reproduction of the famous EGYPTIAN opera I was expecting. Had I known that Egypt would only be present in the libretto, I might still have attended. However, there was such a hotch-potch of other cultures and ideas, that the opera I was expecting only existed when I closed my eyes.
I have never been so disappointed in my life. I only stayed for the second half because I was enjoying the rest of the evening. I cannot even decide which aspect was most annoying; the street-dancing of the slave girls and priestesses, the mutilation of the spectacle I had been expecting, or the fact that I had paid so much for my seat and they hadn't even bothered to provide any set to speak of.....

[Miriam]

I am sorry you have had such a disappointing evening for your first time at the opera Tracey. I do hope it won't put you off going again and that you will have a production more to your taste next time.

[a mac]

Indeed it was a very good evening - the slight reservation I had was the chorus was a bit ragged in places.

At the start of act 2 scene 2 it seemed every chorus member came in at their own time!

Luckily I managed to get another standing place for this saturday - it will be interesting to hear what Carlo Ventre makes of the role. Everyone else is certainly worth another listen ihmo !

Will we see it again ? - I reckon it depends on whether they think they can sell it. I think this time round it was heavily discounted soon after the booking period opened - with half-ish price stalls seats.
That has got to "hit the bottom line" - so to speak - on what must be a fairly expensive opera to stage.

[Nikolaus Vogel]

Chiara Taigi's biog in the OONY Africaine programme in New York states that she will sing Aida at Covent Garden in 2012, so that's either next season or the one after.

[J M]

@Tracey

Aida as originally concived was placed in Egypt that never existed.

It may be Egypt inspired, but to be honest it can be given a context of any 2 groups of people in conflict (West Side History touches many similar themes in a more modenr setting, it is not beyond the realsm of possibility that one could do an Aida in that context).

If this horrified you, worst is to come :-) but you can always find more traditional stagings (and invariably you will have people complaining about those too...).

[FC]

Think Mr Alagna needs to invest in some better deoderant, judging by those big wet patches under his arms :-)

[Anthony Smith]

If I never hear Mr Luisi conducting again, I shall not be sorry. I thought the opening scenes were fine, if you want a lyrical as opposed to dramatic AIDA. The singing of the priests in Scene 2 was exemplary. The wayward conducting there after left me speechless and the singers were left to catch up where they could with some very quirky tempo changes. Baring in mind this was the third or fourth performance, something cannot be right. Mr Luisi is ceratinly no Pappano or Mackerras, or Downes, or Elder, or Levine (just a few names that spring to mind!)

Mr Alagna did a very good job and to try to attempt the pianissimo ending to his first aria was brave, even if it didn't quite come off - but this is live theatre. The rest of his performance was extremely well delivered (except when he trying to guess the next tempo of the maestro!) Miss Monastyrska was a revelation as I have not heard her before and as already commented on bodes well for the forthcoming Lady Macbeths. She does not have a particularly beautiful tone quality, but she uses the voice well and produces very accurate high notes, whether singing quietly or at forte. Miss Borodina, I would guess, will not be singing many more Amnerises. The role is just now a touch uncomfortable at the top of the voice. She walked through the part with hardly any dramatic involvement. The production starts well and implies an ancient civilisation based on ritual and blood lust, but somehow the lack of scenery takes it's toll and what should have been superb, simply refused to take wing. It was not a bad performance, but it certainly won't go down in the Covent Garden annuls as one of the best either.

[vecchio john]

I sampled the B cast last night. Carlo. Ventre as Radames mauled celeste aida with a throaty gargle in search of tone but elicited a single bravo from the slips for a stentorian final note.
Carlos Almaguer like Volle raised the dramatic level and with a more authentic Verdi voice.
The MET are welcome to the fidgety conducting of the routinier Luisi.

[a mac]

I went again last night - and from the balcony it seemed to hang together a bit better in the big chorus scenes. I guess things have managed to iron themselves out just in time for the conductor to hot foot it to New York !!

fyi - I am no longer interested in what Carlo Ventre has to make of the role !

[su traditor]

LAST MINUTE CAST CHANGE AIDA ON MARCH 30, APRIL 2 AND 6
Olga Borodina is indisposed and not able to sing at the performances of Aida on March 30, April 2 and 6.
The role of the Amneris will be sung by Marianne Cornetti.

[Emelle]

I've just got home after seeing Aida, with so many cast changes my head is spinning!
The production was worse than I feared and the 'ballet' with the bare breasted women was appalling. How did those dancers wear so little clothes and yet affect the libido like a freezing cold shower? Not erotic at all.
I was sad to miss Olga Borodina as she probably won't be singing so much as she ages. She was hot stuff as Delilah and Marguerite back in the day.

Very impressed with Liudmyla Monastrtyska.
Sterling support from the men.
It's going to take me ages to get over that lousy production though....