Ovation for Verdi diva ... boos for production
Source: Agencies |
October 4, 2010, Monday
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Print Edition
Print Edition
THIS is definitely not your pharaoh's "Aida."
The new production by Tim Albery that opened the Canadian Opera Company's season on Saturday isn't set in ancient Egypt as Verdi intended. Instead, it's been updated to our own century and set in the palace of a king whose high priest, Ramfis, wears sunglasses and a business suit.
The Triumphal Scene has no elephants, no camels - not even a Triumphal March, really. Instead, it's depicted as the heroine's nightmare in which Egyptian soldiers coldly shoot wounded Ethiopian warriors in the head. The Nile Scene takes place nowhere near a river, but in a palace storeroom.
This tinkering might not matter so much except that it threatens to sabotage the main attraction: the first performance of the title role by Sondra Radvanovsky. In recent years, the American soprano has become a noted Verdi specialist. That she survives this production, and even triumphs in the end, is testament to her talent.
Her performance is like a master class in outstanding Verdi singing - strong, supple phrasing, admirable breath control, powerful high notes, ravishing pianissimos.
Radvanovsky's voice has a distinctive shimmering quality that may not be to everyone's taste. But she is an artist of rare gifts at a time when many Verdi heroines are almost impossible to cast.
She is ably supported by Rosario La Spina, who gave a sensitive performance as Aida's lover, Radames. As the jealous princess Amneris, mezzo Jill Grove sang fiercely and with impressive volume.
The loud ovations that greeted the cast turned to boos when Albery and his team came out for their curtain call. None of them seemed particularly surprised.
The new production by Tim Albery that opened the Canadian Opera Company's season on Saturday isn't set in ancient Egypt as Verdi intended. Instead, it's been updated to our own century and set in the palace of a king whose high priest, Ramfis, wears sunglasses and a business suit.
The Triumphal Scene has no elephants, no camels - not even a Triumphal March, really. Instead, it's depicted as the heroine's nightmare in which Egyptian soldiers coldly shoot wounded Ethiopian warriors in the head. The Nile Scene takes place nowhere near a river, but in a palace storeroom.
This tinkering might not matter so much except that it threatens to sabotage the main attraction: the first performance of the title role by Sondra Radvanovsky. In recent years, the American soprano has become a noted Verdi specialist. That she survives this production, and even triumphs in the end, is testament to her talent.
Her performance is like a master class in outstanding Verdi singing - strong, supple phrasing, admirable breath control, powerful high notes, ravishing pianissimos.
Radvanovsky's voice has a distinctive shimmering quality that may not be to everyone's taste. But she is an artist of rare gifts at a time when many Verdi heroines are almost impossible to cast.
She is ably supported by Rosario La Spina, who gave a sensitive performance as Aida's lover, Radames. As the jealous princess Amneris, mezzo Jill Grove sang fiercely and with impressive volume.
The loud ovations that greeted the cast turned to boos when Albery and his team came out for their curtain call. None of them seemed particularly surprised.
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