Opera is More than Just Singing
The Metropolitan Opera production of Aida was simply breathtaking. Not only were the costumes and stage props elaborate, the powerful, almost haunting voices of Aida played by Angela Brown, Amneris played by Luciana D’Intino, and Radames played by Franco Farina added heightened emotions to the story’s otherwise hackneyed love-triangle plot.
The production at the Metropolitan Opera was overwhelming and over the top in a positive way. The costumes were intricately made and conveyed the time period well. The set design was inspiring; it reminded many of the interior of a museum’s exhibit on ancient Egypt and the grandeur of the lifestyle of the Pharoahs and royalty of Egypt. The combination of the on-stage elements created an accurate setting for the story.
The main characters Aida, Amneris, and Radames were cast brilliantly. Angela Brown has such soul and passion in her voice. Her background as a gospel singer shines through when she sings about being torn between remaining loyal to her country, her father, and her people; and her true love Radames, the enemy. Brown is a performer with the ability to play many roles well. She can convey obedience to Amneris as her “slave” but can also show despair and profound grief when she is falsely notified of Radames’ death. Her voice is powerful and carries well into the audience but her abilities as a performer are even more significant: she can convincingly convey a range of emotions without them being contrived. Similarly, Luciana D’Intino had the ability to play her role well. She was demanding and princess-like at the appropriate times, such as when declaring to Aida that Radames could never desire or love a slave. A passionate desperation was in her voice throughout her scene with Radames, when she begs him to renounce his love for Aida. Franco Farina played the role of Radames with vigor. He was aloof with Amneris in their scenes together, conveying to the audience that Radames did not truly love her. When he shared scenes with Aida, however, Radames became tender and gentle. He could be a man of war and subjugation and one of tender love.
Although the characters conveyed the different roles well, there were parts of the opera that were much too long and drawn out. Certain acts of repetition can add to and build the emotions of a story, but having the same lines performed over and over for nearly 15 minutes can make an audience member restless. Amneris’ angst and fear was conveyed in her performance in the scene when Radames’ act of betrayal was revealed; her solo performance which repeated the same few lines over and over was extraneous. The nearly four hour long performance of Aida was filled with about two hours of repetition that were unnecessary to understanding the plot or the internal conflicts the characters experienced.
Watching an opera with orchestra seats is an experience everyone should have. The Metropolitan Opera puts on quite a spectacle of a show, but the performers and their voices outshine all the well adorned and embellished stage props. The power and passion of the voices of the cast members of Aida cannot be forgotten.
Photograph by Marty Sohl