![]() George Gagnidze was a virile and single-minded Amonasro. Latonia Moore (Aida) and Russell Thomas (Radames) © Cory WeaverĪ cast of stellar singers inhabited the remaining roles. Musically and dramatically, this production offered a convincing love triangle. As did Shakespeare and Elliot, Verdi found the humanity behind the masks of his characters. She exemplified Verdi’s unique ability to sympathize with his characters: although a reigning princess, she too is a victim of her passions. Regal, spiteful, yet deeply in love with Radames, Moore brought the tortured character of Amneris to life. Of particular note was Melody Moore’s Amneris. ![]() ![]() In time, her voice mellowed in the subtle sections, culminating in the beautiful and eloquent ‘O, terra, addio’. It was only early in Act I that she lacked conviction in the quieter passages, particularly in the lower range. This was distinctly in evidence in his duets with Latonia Moore who was a riveting Aida, able to project her dramatic soprano over the orchestra and chorus: hers is a gale force instrument. With effortless singing that was rich in color, Thomas has the ability to tap deep reserves of humanity in both his voice and presence. Russell Thomas, Artist in Residence at LAO, brought his honeyed tenor to the role of Radames. Under the baton of James Conlon, a preeminent Verdi conductor, the diverse musical structure of Aida with its divine amalgam of moods and textures was brilliantly realized. While the set did little to focus the action, the magnificent cast and the Los Angeles Opera Chorus and Orchestra centered the drama with force, precision and lyrical magic. Set in a vague time and place, Michael Yeargan’s conception, as realized by artist RETNA (Marquis Duriel Lewis), was a pleasing jumble of pseudo hieroglyphs, strikingly lit by Mark McCullough. In Francesca Zambello’s staging of Aida, Verdi’s setting of a Europeanized imperial Egypt is replaced by a graphically confused though handsome backdrop of brushstrokes referencing an unknown alphabet. (JRo) Verdi’s Aida at the LA Opera © Cory WeaverĪrtistic designer – RETNA (Marquis Duriel Lewis) This tragic story of war, jealousy and revenge at whose heart is the doomed love of the beautiful Ethiopian slave girl, Aida, and the Egyptian hero, Radames, is brought to life in a production set against one of the greatest pieces of music Verdi ever wrote with the well-known arias “ Celeste Aida”, “ Ritorna Vincitor” and the classic “ Triumphal March” featuring a temple dance, cascades of glittering gold and amazing fire performers.United States Verdi, Aida: Soloists, Chorus and Orchestra of LA Opera / James Conlon (conductor). In Aida, the splendour of Egypt is set against the grandeur of the Coliseum of Rome with Ellen Kent’s direction influenced by the ancient Greek dramas of Euripides and symbolising the powerful religious hold of the priests of Egypt. Welcoming back the fabulous Korean soprano Elena Dee, French soprano Olga Perrier and Ukrainian mezzo-soprano Natalia Matveeva*.Īida, the grandest of all Ellen Kent’s operas, returns to the UK with a stunning new traditional production, boasting an impressive set built by Set-Up Scenery in the UK, who also build sets for the Royal Opera Covent Garden. With international soloists, highly-praised chorus and full orchestra. Opera International's award-winning Ellen Kent Productionįeaturing the Ukrainian Opera & Ballet Theatre Kyiv, With a new spectacular interpretation of the classic opera ‘Aida’
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