BY BEN NIELSEN
‘Aida’
Opera Australia
Sydney Opera House and Harbour Bridge, 29 March 2015
Nefertiti’s bust, a crumbling relic of a bygone era, perches at the water’s edge. It’s a surreal vision, set against the sails of the Opera House and the Harbour Bridge’s arch. But beneath this spectacle, Opera Australia’s ‘Aida’, which has been described by director Gale Edwards as a production for the ‘thinking person’, possesses very little substance.
Aida, an Ethiopian princess, and Radamès, an Egyptian warrior are in love. Wedged between them is the conflict of their two nations, and the Pharaoh’s daughter Amneris, who also desires Radamès. The story might not be overly sophisticated, but the real problem is in its interpretation. Edwards and designer Mark Thompson have tried to modernise Verdi’s opera, using a stylistic pot-pourri of sets and costumes. Indeed, the libretto does not specify a precise period in which the story should take place, but this adaptation lacks vision and clarity.
Where the production fails in its attempt to transcend time and place, Verdi’s score succeeds. Even though he returns to earlier techniques of musical characterisation, his perfect use of drama and colour makes the score seem as though it was composed for a contemporary cinematic masterpiece. It remains impressive even when the sound system temporarily malfunctions, leaving the chorus and orchestra to compete with the hollow acoustics of the open air.
Leading lady Latonia Moore receives raucous cheers and applause throughout the performance. Her voice sparkles, particularly in ‘Ritorna Vincitor’, in which Aida ruminates on her love for Radamès, who has been tasked with leading the war against Ethiopia. ‘O patria mia’ is another standout.
When the trumpets herald the famous ‘Triumphal March’, the audience snaps to attention. The triumphant ceremony, though, is a triumphant let down. Dancers writhe on stage (it’s hard for me to tell what is messiest: Lucas Jervies’ choreography or its execution), camels miserably amble past, and comical figurines (seemingly borrowed from Luna Park) are paraded across the stage.
The tradition, of course, is to treat ‘Aida’ as a flourish of extravagance. Edwards’ staging showcases huge sets, smoke effects, pyrotechnics, and a gaudy fireworks display. It is awe-inspiring, but the production doesn’t benefit from these elements as they do not seem thoughtfully integrated with the action or narrative. In some ways, it actually detracts from the beauty of Verdi’s music – delivered by Brian Castles-Onion and the Australian Opera and Ballet Orchestra.
What is ‘Aida’ really about? Beneath the glitz, it’s hard to tell. ‘We could all sit there with our eyes closed,’ Edwards aptly writes in her program note, ‘and frankly, still have a wonderful and memorable night’.
Image credit: Hamilton Lund.
