Director, Robert Carsen; Set Designer, Miriam Buether; Costume Designer Annemarie Woods; Lighting Designer, Robert Carsen And Peter Van Praet. Conductor, Antonio Pappano; Aida, Elena Stikhina; Radames, Francesco Meli; Amneris, Agnieszka Rehlis; Amonasro, Ludovic Tézier; Ramfis, Soloman Howard. Orchestra of the Royal Opera House and Royal Opera Chorus
In my snobbish and silly way, I’ve never really had much time for Aida – it is something like 35 years since I last saw it live. I actually went to see it in Egypt outside the Pyramids (there is an open-air stage area there which has hosted many illustrious performers, such as the rock band Police) in 1987 – I think it was the Palermo or possibly the Naples Opera company, with a host of camels and so forth, all the cast in entirely Ancient Egyptian garb looking rather small within the looming massive sets (and of course with the Pyramids there too). My employer was trying to bring out the National Theatre production of Shakespeare’s Antony and Cleopatra, with Judi Dench and Anthony Hopkins to the same venue (in the end sadly scuppered by a NT stagehands strike) and I was asked to go along to get to understand how a large scale European production could be put on at this open-air venue. I managed to wangle quite an expensive seat, and I also remember saying I ought to see it twice so got a seat for the Luxor performance they were giving as well (and maybe a dress-rehearsal). I must have seen one production at ENO or ROHCG before the Egypt one – was there a Rita Hunter Aida with Mackerras? – but I have no detailed memory of one. It’s I guess a tribute to the staying power of the work that having not heard a note for 35 years except for one live broadcast I remember listening to once in Pakistan, I remember so much of the music.
I had a ticket for the dress rehearsal of this new production, which I couldn’t make because of my coughing fits (see below), so I was pleased to catch up with it via this screening.
The production I thought was very fine indeed. It took the essence of the work – war, captivity, national rivalries, patriotism and loyalty, two women vying for the same man and translated Egypt into a modern militaristic state, with a supreme leader and what looks like a tricky first lady…..Amneris.. The basic set was a kind of concrete bunker. The chorus were soldiers and the Triumphal March consisted of soldiers lifting up and removing the coffins of their fallen comrades under a large portrait of a ‘Dear Leader’ which was at the back of the stage in several scenes – a portrait of the Korean singer who played Pharoah. Admittedly the production seemed to be a close relative of the ROH Lohengrin – a similar preoccupation with flags, reds, blacks and greys, and the sense of an oppressive state. The ending of the second act with videos of modern warfare was devastating. Other scenes were set in a parade ground with raised stands for the spectators, a memorial to fallen soldiers with names on the back walls and, powerfully the tomb in the final scene was an armaments store, with rocket heads – making the Priestess’ final words “peace’ very powerful. I don’t think there were any missteps in the sets and the director’s concept. Maybe it was overegging it a bit, making the work seem more profound than it really is – but it was just so much better than yet another attempt trying to recreate Ancient Egypt. And although I assume it was conceived before Feb 2022, the resonance with the current state of the world is only too obvious
The stand out star for me was Amneris – Agnieszka Rehlis – who combined a very considerable stage presence with a warm rich voice. She threw herself into the role and was utterly convincing in her malice and desperation, as well as her recognition of the power she had as Pharaoh’s daughter. , Elena Stikhina as Aida was less compelling dramatically but had a beautiful voice that produced some lovely floated high notes, sensitively varied phrasing as well as the dramatic top notes at high volume the role demands. Radames was a bit of a disappointment – Francesco Meli had little stage presence, wandering around the stage to little effect. It was difficult two see why two very attractive women were throwing themselves at him. He also had some vocal difficulties with the higher range of the role and resorted to falsetto at points. Pappano conducted with his normal vigour and empathy with the orchestra
John's musical journey 