Aida

Graeme Murphy’s Aida for Opera Australia was quite a spectacle. There were projections, Egyptian columns flying on and off, a lap pool across the front of the stage and a travellator. Some of these enhanced the production, some not.

Amneris fighting her way through the approaching columns for the Judgment Scene was effective. The travellator worked well in the Triumphal March, carrying cardboard Egyptian figures across stage, but was annoying and/or comical in other scenes.

Of course the choreography was exciting, but not always appropriate. Having five vultures brought an unintended hint of comedy to the Judgment Scene. Having the crowds disappear after the Triumphal March so the dancers could use the full stage jarred.

I was surprised the musical director allowed the director to place two singers in the first act trio at the back of the stage. Balancing the singers was impossible. Allowing the dancers to play with the harp while Amneris was singing is covered in Opera Directing 101. It’s called upstaging and should never be allowed. Mezzos can bite!

Aida is a great chorus opera and the OA chorus rose to the occasion. The dramatic singing was thrilling, but also there was some beautiful pianissimo singing. I was not surprised that chorus master Michael Black took a bow at the end, and the chorus had an extra bow at the end of the Triumphal March.

But ultimately opera is about the singing, and this was a mixed bag. Head and shoulders above the cast was the Amonastro of baritone Michael Honeyman. His big voice was unfailingly beautiful and I cannot imagine a better.

As Aida Dara Masiero displayed great control and a beautiful pianissimo, but I would prefer a fuller voice in this role. Deborah Humble was a fierce and effective Amneris who found the role sat a little high for her.

Tenors capable of singing Radames are thin on the ground, and Carlo Barricelli had all the thrilling top notes one could want. However, his lack of ability to sing consistently in tune or relate to his colleagues on stage as he watched the conductor like a hawk made for an unsatisfactory effort. Perhaps he had an off day.

It was interesting to hear the old stager, Jud Arthur, and the young pretender, David Parkin, in the two bass roles of King and Ramfis. Both were impressive, but the younger Parkin won by a nose.

The costumes, particularly Amneris’s burnt gold cloak, were magnificent, and Orchestra Victoria was in fine form under Renato Palumbo.

There was a lot to like here, and the audience was certainly enthusiastic at the end.

Graham Ford

Images: (top) Daria Masiero as Aida, Michael Honeyman as Amonasro and Jud Arthur as The King and (lower) Opera Australia artists. Photographer: Jeff Busby.