Aida

Opera (1871)
by Giuseppi Verdi

With Liudmyla Monastyrska (Aida), Olga Borodina (Amneris), Roberto Alagna (Radames), George Gagnidze (Amonasro), Stefan Kocan (Ramfis), Milos Sebestyen (The King)

In ancient Egypt, Radames, a big general, looks forward to leading the charge against the enemy Ethiopians so he can gain prestige and power. Amneris, the daughter of the king, is in love with Radames, but Radames is in love with her Ethiopian slave, Aida.

Radames leads the expedition against the Ethiopians, wins, and gets whatever prize he wants. He asks for the liberation of the Ethiopian slaves, which includes Aida and her father. As a prize to Radames, the king sets him up with Amneris in marriage.

No one is too thrilled with the outcome: Aida and Radames lose each other, Amneris realizes that Radames is still in love with Aida, and Aida’s father, the Ethiopian king, Amonasro wants to pick up and fight the Egyptians again. But to do that effectively, he needs to get some secret info about their military program.

Who better to get that than his daughter’s lover, Radames. It all turns out very sticky and unsatisfying for all, especially Aida and Radames who, though finally together, wind up in a rather uncomfortable position.

I saw this production live at the Met a couple of years ago and was very taken by its design. I thought, especially during its early temple scene, its way of choreographing the stances of its various attendants was tastefully and gracefully done.

This performance of the production was perfectly fine, though nothing struck me as spectacular. Even the Grand March scene, involving a cast of hundreds and a couple of horses, seemed a bit lackluster.

There was some very good singing.

I particularly was taken with Roberto Alagna as Radames. His tenor is immediately pleasing and relaxed and he appeared to carry off the part effortlessly.

Olga Borodina (Amneris) has a rich voice with a deep and sonorous range that is particularly noticeable and satisfying. She also carried off the dramatic role with conviction, especially in the final act in which she has to balance off her rage and jealousy against her love for Radames.

Liudmyla Monastyrskya (Aida), a Georgian making her Met debut, has a rich voice particularly noticeable in the sweet, high registers. I was not bowled over by her acting.

Stefan Kocan (Ramfis) did not have a large part, but his basso profundo was resonant and penetrating.

Aida is one of those operas that has very little music that I sing afterwards. There is, of course, the Grand March, but, for me, there are no other particularly memorable arias or passages. That is not to say the music is not appealing; it is satisfyingly lyrical and dramatic, but not so memorably melodic.

There was some entertaining dancing, and, in Live in HD, it was possible to get the bird’s eye view, much like one used to get on The Jackie Gleason Show on TV when The June Taylor Dancers did their thing.

All in all, I found this an appealing, though not a thrilling, performance.

– BADMan