A Night to Remember
New York, NY, Nov. 7 – Aida has been touted as quite possibly the most awe-inspiring opera in existence. However, nothing can prepare you for the experience firsthand. The approach to the Metropolitan Opera is quite impressive in itself. But, there is nothing in the world like the feeling you get when you first walk into the theater hall. It is magnificent. Your first instinct is to look up, and when you do, your eyes gaze upon the massive snowflake-like chandeliers. You try to follow the paths that the light takes as it dances around the gilded ceiling only to be distracted by the sheer number of seating levels. The mystique of the opera house creates this aura of utter luxury and elegance unparalleled by any other place I have ever been to before. The feeling: complete sensory fulfillment.
The set was unbelievable, comprising of ever-changing and huge main structures detailed to perfection. Surprises abound in this opera, from Radames’ triumphal entry in a golden chariot pulled by a team of ornamented horses in Act II to a double separating wall lined in guards that descend from the roof of the house in Act IV. The costumes were amazing as well. Everyone from the lowest chambermaid to the king himself seemed to be encrusted in jewels.
The vocals were powerful, unaltered, and stunning. As slave girl Aida, Angela M. Brown emotionally played the protagonist in a tug of war for the heart of Radames, played by the highly capable Franco Farina, with Amneris, the pharaoh’s daughter. As Amneris, Luciana D’Intino dug deep in her gift of singing, filling the house with rich sound evocative of the role she played, while Ms. Brown merely gave her vocal chords a warm-up, releasing just enough ferocity to light the air in the room on fire. Both performers were strong in their own rights. It made me wonder who was the lead in this performance, antagonist Amneris, or Aida, the character who shares her name with the title of the opera.
However, there were a few low points. Along with being incredulously long, there was a rather embarrassing slip-up at the end of Act II: a young dancer fell flat on her face in the middle of a dance number. The entire stage was frozen in disbelief at first, but the event was quickly cleaned up. The last concern was of Amneris’ soliloquy in Act IV, which caused even the most insomnia-prone individuals to experience a short nap. This was a shame because it was preceded and followed by two of the best scenes in the opera.
But these were just minor issues in the midst of an unforgettable night of visual and auditory bliss. Aida is a must-see for the opera enthusiast or the performance novice. What else would you have expected from the Metropolitan Opera?
December 19th, 2007 at 6:28 pm
I felt the same way when I walked into the Met. It was extraordinary. The Met’s ambience really set the tone for the powerful performance of Aida. I also believe that the set and vocals in Aida were incredible. You could see that all those involved in the production tried their very best to put on a great show. A well-written review.