ROH - Aïda

[ChandlersFord]

From what we know of Ancient Egypt both elements are historically accurate unlike missile silos….

Thanks. That's definitely the production I saw, but I don't recall the nudity, which looks to have been very mild (certainly by McVicar's standards). Maybe there's a lot of detail you don't see form the amphitheatre?

I can recall it being OK as an experience. Surprised it seems to have been junked. If they could keep Keith Warner's Ring for a decade, they could surely hang on to this Aida?

Sidebar: I notice the ROH is reviving Rusalka. If this is the same production that they mounted a decade ago (set, for some reason, in a brothel), I'm definitely out. That was the worst opera production I've ever seen, anywhere.

[Ein Heldenleben]

Thanks. That's definitely the production I saw, but I don't recall the nudity, which looks to have been very mild (certainly by McVicar's standards). Maybe there's a lot of detail you don't see form the amphitheatre?

I can recall it being OK as an experience. Surprised it seems to have been junked. If they could keep Keith Warner's Ring for a decade, they could surely hang on to this Aida?

Sidebar: I notice the ROH is reviving Rusalka. If this is the same production that they mounted a decade ago (set, for some reason, in a brothel), I'm definitely out. That was the worst opera production I've ever seen, anywhere.

It says “new staging “ on the website. Is that the same as “new production” ?

[LHC]

It says “new staging “ on the website. Is that the same as “new production” ?

Yes, it's definitely not the dreadful brothel-set production, which was directed by Sergio Morabito and Jossi Wieler. This new one is directed by Natalie Abrahami and Anne Yee. The Opera House blurb says "Natalie Abrahami and Ann Yee create a poetic, contemporary new staging of Dvořák’s lyric fairy tale, revealing our uneasy relationship with the natural world and humanity’s attempts to own and tame it" and a feature in the Opera House magazine goes on to say:

"Act I shows Rusalka’s lake as a natural, pre-industrial idyll; Act II, the palace scene, shows man’s incursion on that idyll; and Act III plays out in a wasteland ‘poisoned’, as Rusalka’s father Vodnik puts it, ‘by human slime’"

[Cockney Sparrow]

I'm going with friends on 9 October and am very much looking forward to it. The reviews are particularly positive about the musical performance, and it is a very fine cast, so I think it will be good............
........From the reviews this new production would seem to be quite a bit better than some of its predecessors and may stick around a bit longer. With Pappano conducting and a first rate cast it should be very good indeed.

I've just read the bachtrack review, and am in agreement with many of the points made.

It is unremittingly military green - see the photo on bachtrack. I don’t object – its probably reasonable to draw a parallel with? - N. Korea. If I want all the ancient Egypt set and bling I would be able to find it, big time, at Verona, which I have yet to visit.

All of the soloists were up to the job - athough Meli sang sang a couple of his challenging high phrases - well notes - in a covered and much muted head voice. Agnieszka Rehlis put a lot into the role of Amneris, vocally and dramatically, not that Stikhina was deficient. The chorus (with a large number of extras) were magnificent, not forgetting Pappano and the orchestra.

I think it is such a complex undertaking, relying on humans subject to illness etc, that I am thankful for problem free performances competently delivered and productions that aren't outrageous. I'm generally happy with, or willing to accept performances located to more modern settings. Mrs CS mightily disliked the production - visually, the military setting.

I hope those going find their visit enjoyable - I wasn't aware of any first night awkwardness, but no doubt the cast will ease further into it.

[Ein Heldenleben]

I went last Thursday . Exceptionally well sung with Tezier real luxury casting as Amonasro. Both Aïda and Amneris excellent .The Ramfis a stentorian American I haven’t heard before who clearly has a big career ahead of him . His Radames, Radames, Radames in the judgement scene just about the most chilling sound I’ve heard in the Opera house in a long time . Exceptional work from the chorus and orchestra with some wonderful pianissimo singing. I didn’t care for the modern dress and boring production. The performance was also marred by a woman shouting shut up during Act 1 and a hideous mobile phone during Aida’s Exquisitely sung Act one aria.

[alywin]

Covent Garden hasn't been lucky with its productions of Aida in the past, a number of which have not been revived after their first run of performances.

I am frequently appalled at the Royal Opera's profligacy when it comes to swapping productions. It sometimes seems that we're fortunate if a particular production gets revived.

[smittims]

I've often thought it a pity that the few big 'outdoor' scenes in Aida have led to it being staged outdoors, when much of the action consists of private, even secret, dialogues. I can imagine a more convincing interpretation in the days when operas were more frequently done in small theatres, though, of course, some compromise would be necessary in Act Two.

[LHC]

I've often thought it a pity that the few big 'outdoor' scenes in Aida have led to it being staged outdoors, when much of the action consists of private, even secret, dialogues. I can imagine a more convincing interpretation in the days when operas were more frequently done in small theatres, though, of course, some compromise would be necessary in Act Two.

Zeffirelli of all people directed a production of Aida in the Teatro Verdi in Busetto to mark the Centenary of Verdi's death. The Teatro Verdi is tiny, seating just 300 people. To fit into the small theatre, I think the ballet was cut, and to represent the Grand March, the principals and (very small) chorus waved at an imaginary procession taking place in the auditorium. However, as you say, performing in such a small theatre gave much greater prominence to the intimate drama between Aida, Radames and Amneris.

[LHC]

I am frequently appalled at the Royal Opera's profligacy when it comes to swapping productions. It sometimes seems that we're fortunate if a particular production gets revived.

Especially when they are replaced with something much worse (although I don't think that's the case here).

[smittims]

Bravo Zeffirelli! Thanks, LHC. That's the sort of thing I had in mind for Act Two.