Classical and Jazz: Preview - Aida at the Royal Opera House
Published: 17 March 2011
by SEBASTIAN TAYLOR
GONE are the Karnak temple columns, gone the gorgeous garb of courtiers, priests and priestesses, the hieroglyphs, pyramids, elephants, Pharaoh wearing a long headdress, false beard and ornate kilt. Instead, there’s an unidentifiable amalgam of costumes, a bit of Aztec here, Assyrian there, the Terracotta Army thrown in for good measure.
Welcome to the revival of Verdi’s Aida directed by David McVicar at the Royal Opera House.
Many opera fans, particularly those who’ve seen Aida in Verona, will feel short-changed by the production that does away with the great Egyptian set-pieces and pageantry.
Instead, the emphasis is on human sacrifice. Nubile topless females gouge out the entrails of 10 young men hanging on ropes and smear bloody entrails over their breasts. (There’s a supreme Monty Python moment. One of the men with long, bushy red hair, twists, turns and shakes all over, his bloody guts hanging from his stomach – it’s The Life of Brian.)
Yet there’s real merit in McVicar’s treatment.
By doing away with the pomp and pageantry, his Aida almost becomes a chamber opera where the emphasis is on the singers, not the costumes, where Verdi’s music takes centre stage.
Fortunately, soloists and young conductor Fabio Luisi are able to deliver.
Aida is young Ukrainian soprano Liudmyla Monastyrska, stepping in as a late replacement for Micaela Carosi. Blessed with a luxuriant, strong voice able to float up to top Bs and Cs, she has the makings of a classic diva.
Her tormenter, the king’s daughter Amneris, is strongly sung by Russian mezzo Olga Borodina; and the object of desire of both women, army commander Radames, is Italian tenor Roberto Alagna.
With his golden locks, sensuous grainy voice, packed with emotion in the right places, it’s not surprising Alagna commands the deep love of the two women, ending up buried alive with Aida. All round an excellent, riveting production.
• There are nine more performances of Aida at the Royal Opera House till April 15. 020 7304 4000, www.roh.org.uk