Opera Australia’s current new production of Verdi’s Aida delivers a satisfying amount of traditional drama and tension we hope for in Verdi’s structure and score. The arresting design in this production makes use of a refreshingly new visual element for the opera stage. A more traditional set design is replaced with projection technology onto moveable vertical panels to create and decorate all required scenes.
Musically, Verdi’s score is preserved with immense energy and beautifullyvaried nuance by conductor Andrea Battistoni. In front of the vibrant animation of the video backdrop, arias such as ‘Celeste Aida’ from Riccardo Massi as Radamès indicate early that the calibreof operatic storytelling will be high and as vivid as the set projections from video designer D-Wok in Giò Forma’s fluid set design.
Dramatic focus and stirring atmospheres are constantly supplied from principals and chorus. They deliver intense exchanges in scenes dealing with crises of the heart, countries at war, jealous lovers or jubilant victory. Some very full stage moments are augmented further by extra animated screen figures behind and at the side borders of tableaux.
This gives the opera at times very challenging visual vistas to comprehend with the addition of dancers also enhancing action. We survive the impact however as the sequences of such moments are given sufficient ebb and flow to move the action through a lush version of this opera with its fresh decoration and visual surprises.
As well as the visual emphasis of the production, the cast dazzles in sumptuously iconic evocations of Egypt’s religious regalia or court finery from costume designer Gianluca Falaschi.
The role of Ethiopian slave Aida is sung in compelling dramatic soprano tone by Amber Wagner. The tale of this woman’s tragic love for her country and an eventually ill-fated Egyptian war hero is poignantly told with exceptional coverage of the stage area and of all aspects of the dramatic soprano persona and range.
Wagner’s powerhouse portrayal also features exciting chemistry in duet with Massi’s Radamès and also a direct and suitable energy when singing with King Amonasro as delivered in fine voice and
with more believable characterisation by Warwick Fyfe. The sensuous and super-tense Act 3 on the banks of the River Nile is especially notable in this regard.
Elena Gabouri commands the stage as a ruthless Princess Amneris assisted by her rich and penetrating mezzo-soprano. Her passion and sensuality are suitably matched by the projected display at hand. Imagery around her apartment scenes feauring a wildcat and enhance her character’s resolve and vicious management of the love triangle between herself, Captain Radamès and Aida. These scenes are hypnotically sung and acted, in moments such as ‘Vieni, sul crin ti piovano’ /‘Come, bind your tresses’ .
Emerging effectively from many crowded court scenes is the King of Egypt. From concealed helmeted head is heard the excellently haunting bass tone of Jud Arthur in this role. Moved around the stage in a larger than life pedestal style mobile his appearances are supported by the mystery and ceremony of his country. Also in elaborate costume and with serene, penetrating voices are the High Priest (Robert Scandiuzzi) and Priestess (Jane
Ede).
As well as the powerful opera singing and stagecraft of performers, Sydneysiders are urged to enjoy this new artistic approach which explores the style, opulence and character of the ancient setting via
modern means rather than trying to update the opera to modern times with much less innovative technology than witnessed in this effort. This has been the questionable fate of many classic operas worldwide.
Aida continues at the Dame Joan Sutherland Theatre until August 31.