A Grand Goes Hand in Hand
Imagine, stepping into a performance hall; the grandiose aura that exudes from the stage. You venture to glance upwards, and you notice another spectacle – the spiked chandeliers that suspend from the ceiling begin retracting upwards. The lights dim, the curtains part with a magnificent flourish. The scene is sublime; there stands two monoliths, protruding from the wall of an ancient Egyptian Temple. But where are all the people? Suddenly, the orchestra begins to play; the overture starts with a singular violin solo and eventually builds on a steady crescendo until the entire orchestra is seemingly in a state of orderly chaos. Then all comes to a grinding halt, the orchestral music dies off, and so it begins.
Aida is a four hour epic journey back in time, and our tour guide, none other than Giuseppe Verdi himself. Having produced such a breathtaking opera, it just wouldn’t seem right if this production were recreated in any other opera house. The Metropolitan Opera House and Aida is a match made in heaven. The immense size of the Met is just right for accommodating the colossal sets that come and go on the stage.
Spectacles to say the least, the set designs by Gianni Quaranta are simply breathtaking. Ranging from enormous statues, underground burial tombs, to the privacy of Amneris’s private chambers, every aspect is picture perfect. Then there’s the Triumphal March of Act II. With a name like Triumphal March, one can expect nothing less, and the Met delivers. The awe inspiring parade, with the seemingly endless procession of soldiers, spoils of war, horses, prisoners and countless other elements leave the audience speechless.
As for the projection of the vocals, the cast does a dazzling job in carrying their voices throughout the entire house. Featuring such names as Angela Brown (Aida), Franco Farina (Radames) and Luciana D’Intino (Amneris), it is no wonder that “Aida” has become an instant sensation to the masses. Each individual brings their own experiences and styles to the table: Angela Brown’s Verdian style and resilient voice, Franco Farina’s resounding tremors and masculinity, and Luciana D’Intino’s serene and soft voice.
. Splendid technique, second nature for the singers, coupled with the seemingly flawless conducting and musical accompaniments of the orchestra culminate in an elite musical performance – light on the ears, yet powerful enough to make a statement. Harmonies and melodies are constantly intertwined; oftentimes conflicting, to create different moods. Under the wings of conductor Kazushi Ono, even the “fourth wall” was brought to tears, by the orchestra’s stunning renditions of the musical scores.