It’s surprising we didn’t blow the roof off the Sydney Opera House last night as Opera Australia launched into their opening night of AIDA a revived version of Davide Livermore’s production from a few years back. The chorus were on fire, the soloists geared up, the Orchestra at full volume. AIDA is big, lavish, decadent and overwhelming. More than the eyes can handle and music enough to thrill the pants off the most conservative in the audience. You cannot fail to be impressed.
AIDA was written by one of the greatest opera composers of all time, Giuseppe Verdi. Ever since its 1871 premier in Cairo the opera has been a mainstay in the repertoire of Opera companies all around the world. Set in Egypt, AIDA simultaneously runs a big story of war between Egypt and Ethiopia; and the smaller, more intimate story of a love triangle between an Egyptian princess – Amneris, the leader of the military – Radamès and the slave of Amneris (who is also secretly a royal princess) from Ethiopia – Aida.
The story doesn’t really touch on the clash of cultures as so many other opera/operetta storylines might do, but instead focuses on the contrast in status and the struggle between love or duty. Aida has won the heart of Radamès but sees Amneris “gifted” to Radamès for his military achievements. The wonderful twist in the story arrives when the captives from the battle arrive in Egypt and Aida discovers her father the king hidden amongst them. He gives her the worst ultimatum. Find out from Radamès which path his Egyptian army will take to attack so the Ethiopian troupes can beat them or be faithful to Radamès and see the slaughter of thousands from her homeland. What a choice. You can tell that no matter what she decides this is all going to turn to custard one way or the other. It’s a great story which will keep your attention captive till the very end.
This version of AIDA was the first production in which Opera Australia has used their enormous LED digital screens It’s like looking at ten flat screen televisions that tower the full height of the Opera House stage forever moving, swivelling, joining and separating in their own choreography to block and reveal; all the while displaying a seemingly endless array of digital images and animations.
Most of the scenes designed by D-Wok are contemporary and abstract. It feels like the screens are used like a “Big Boy’s Toy” where priority has been given to show off as much as they can do. Sometimes they express the mood of the singer, sometimes they show panoramic, blockbuster movie scenes but too much of the time they upstage the opera itself.
In the opening scene, a few of the screens showed as solid carved stone which were awesome to view and perfect for setting the scene. However, as we got deeper into the story the screens were no longer the background. They overtook the action on the stage to the point where it was hard to see the singers. One particular scene with Radames featured a red lightning storm which was too hard to watch at all, unfortunately. Being in a dark theatre with stark white flashes was very stressful. Toning these scenes down so the singers are once more the focus would allow us to appreciate the opera we came to experience. Egypt itself is so full of astounding scenery, towering pillared halls and galleries; vast expanses of sand, the Nile, pyramids, decorated tombs… There are so many Egyptian themes which could be used to frame the singers in a more culturally sensitive way if the director chose to update.
The costumes are the next most memorable part of the production expertly created by Italian designer Gianluca Falaschi. Generous amounts of gold, silver, sparkling black, Nile blue and white with more bling than you would ever see in any other production. Falaschi’s collection is extraordinarily diverse with much research used to create the shapes, symbols and colours from ancient times. It’s curious that the Ethiopian prisoners caught after the battle are dressed in “modern” clothes that might have come from the age of Verdi (1800’s). It certainly creates a stark contrast to the Egyptian ancient fashions.
There are two casts for this 2 month season. Featured in the first cast, the three top soloists are all from overseas. In the title role is American soprano Leah Crocetto, a powerful voice that can sail over the top of the chorus and full orchestra at any point in the opera. Opposite her was Italian tenor Stefano la Colla. He has a lovely tone to his voice though he was struggling with pitch throughout the evening. Princess Amneris was played by Russian born mezzo soprano Elena Gabouri who has clearly played the role many times. She seemed the most relaxed of the three, starting a little quiet but getting into her groove reasonably early and knowing when to really stretch herself to peak performance. Crocetto’s best acting was in the scenes opposite Gabouri.
The performer who was fully in the role from the first moment he arrived on stage was Australian bass Warwick Fyfe in the role of Amonasro the Ethiopian king. Spectacular singing and fiercely in-the-moment acting, he really stood out from the rest of the cast. The Messenger Dean Bassett also caught attention with his excellent performance.
Daniel Sumegi as Ramfis offered a very fitting cold, formal and scary High Priest. Gennadi Dubinsky had a difficult acting job to be seen behind his costume as the King and Jane Ede was strong as the High Priestess. Special mention must once again be made about the superb Opera Australia Chorus. Three cheers for Chorus Master Paul Fitzsimon and Assistant Michael Curtain for rehearsing the chorus so they were tight and on pitch in the quietest, sensitive moments and just amazing in the loud bits. You’ll be hard pressed to find a better chorus in the world. The Opera Australia orchestra featured a couple of sleepy violins near the beginning but all pulled beautifully into place and they did a great job under Conductor Lorenzo Passerini.
Lighting Designer John Rayment lit the stage to fit seamlessly between the action and the dominating LED screens. He really is a master. Set designer Giò Forma created simple blocks of multi tiered pieces which appear to be easily mobile with or without singers on board.
Davide Livermore’s direction and choreography, revived by professional dancer Shane Placentino, added a contemporary edge to the classic story which played against the costumes. There was so much scope for the dancers to be waifs, mischiefs, initiates… so many things yet, the choreography had them writhing, distorted and convulsing. Other times they are armed with daggers making blood sacrifice or miming shooting each other down over and over again. War was more often expressed than any love or femininity which, coming from the land of Isis (the deity) is surprising. Interaction between the characters moved along smoothly though the ending to the final scene was unusually cold and disconnected with the lead characters barely looking at each other.
Summing up, the production is stunning both visually and audibly. You really can’t go past Verdi for a great night at the opera. This production is bigger than Texas and if you struggle with the strobing light storms on the screens, just close your eyes and listen to one of the best known operas in the world. Guaranteed you’ll get your money’s worth.
What’s the gossip? Heard in the foyers, toilets, bars and courtyard…
- the costumes and the chorus were fabulous
- Loved the trumpets up in the Gods of the auditorium
- Wondered where the elephant was in the Triumphal March
- Warwick Fyfe is a rockstar
- disappointment that Aussie singers were not cast in the top roles
AIDA plays the Joan Sutherland Theatre, Sydney Opera house until 13 August, 2021. Check Opera Australia’s official website for Covid updates.
Company website: https://opera.org.au/
First Cast (22 June-17 July)
Conductor: Lorenzo Passerini
AIDA Leah Crocetto
PRINCESS AMNERIS Elena Gabouri
RADAMÈS Stefano La Colla
KING AMONASRO Warwick Fyfe
RAMFIS Daniel Sumegi
KING Gennadi Dubinsky
HIGH PRIESTESS Jane Ede
MESSENGER Thomas Strong
Second Cast (22 July-13 August)
Conductor: Tahu Matheson
AIDA Elena Guseva
PRINCESS AMNERIS Agnieszka Rehlis
RADAMÈS Najmiddin Mavlyanov
KING AMONASRO Michael Honeyman
RAMFIS David Parkin
KING Gennadi Dubinsky
HIGH PRIESTESS Jane Ede
MESSENGER Dean Bassett
Creative Team
DIRECTOR & CHOREOGRAPHER Davide Livermore
REVIVAL DIRECTOR & CHOREOGRAPHER Shane Placentino
SET DESIGNER Giò Forma
COSTUME DESIGNER Gianluca Falaschi
DIGITAL CONTENT DESIGNER D-Wok
LIGHTING DESIGNER John Rayment
ASSISTANT DIRECTOR Shaun Rennie
Production photography by Prudence Upton
