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| Handa Opera on Sydney Harbour production of "Aida" Photo: Hamilton Lund |
Conductor: Brian Castles-Onion
Director: Gale Edwards
Set and Costume Designer: Mark Thompson
Choreographer: Lucas Jervies
Lighting Designer: Matt Scott
Sound Designer: Tony David Cray
Media Preview reviewed by Bill
Stephens
Gale Edwards
certainly knows a thing or two about staging spectacle. Following her masterful
staging of “Carmen” for a previous Handa Opera on the Harbour season, expectations
were high for this production of the opera which is synonymous with spectacle,
and this magnificent production of “Aida” she has exceeded even her previous
personal best.
Arriving
early at the site for the media preview, on a balmy Sydney autumn night, dancers
were still rehearsing on the stage. Latonia
Moore (Aida) was busily engaged in perfecting a stage- fall on one side of the
stage, while tenor, Walter Fraccaro (Radames) was being walked through some of
the staging in the centre. Fraccaro, we learned, had flown in at short notice
to play Radames, re-placing Roberto Aronica,
who had had to withdraw from the production due to the serious illness of his
father.
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| Handa Opera on Sydney Harbour production of "Aida" Photo: Hamilton Lund |
Dominated by
a huge, decaying statue of Nefertiti’s head, the stage itself gave little hint
of the splendour which was to follow. Orange petrol drums were arranged around
the back of the stage, and in various corners piles of broken gold stage props
appeared to have been discarded.
Promptly at
7.30pm, Lyndon Terracini took to the stage, welcomed the preview audience, and reminded
us that this was in reality the first dress rehearsal. Because rain had forced
the curtailment of some of the earlier rehearsals, if necessary, this
performance would be interrupted to sort out any problems. He also warned that
some of the singers might choose to save their voices by ‘marking’ (singing below
the octave).
As it turned
out, there was not a hint of rain tonight. All the singers sang full voice all
evening, no doubt taking full opportunity to explore Tony David Cray’s excellent
sound design, and there were no interruptions to the
performance.
Apart from a
few dancers having difficulty in keeping up with Brian Castles-Onion’s brisk
tempi for a couple of the routines, and a couple of the standard bearers becoming
so engrossed in the spectacle unfolding around them that they forgot to collect
their banners, the rehearsal appeared to go spectacularly well, and we were
soon engrossed in the drama and spectacle of Verdi’s great masterpiece.
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| Milijana Nikolic (Amneris) - Latonia Moore (Aida) Photo: Prudence Upton |
Gale
Edwards’ concept for “Aida” is big, bold and brilliant. Don’t expect historical
accuracy from this production, as ambiguities and fantasy abound in Mark
Thompson’s stunning set and brilliant costumes.
Aida, and the female chorus, wear huge crinolines, Amneris parades a
series of extravagant fantasy gowns, some of the men wear smart business suits,
others are dressed as contemporary army officers, and others wear lavish
priests robes. But under Edwards’
confident direction, all these disparate elements come together to create an
extraordinary timeless world where the heightened operatic emotions of the
inhabitants seem perfectly at home.
However, all
of this spectacle would have counted for little, without a cast of exceptional singers
who could involve the audience in the story, and this production is blessed
with such a cast, who not only hold their own against the spectacle, but even
manage to enhance it.
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| Walter Fraccaro (Radames) - David Parkin (Ramfis) Photo: Prudence Upton |
From the
moment he takes the stage to sing his first solo, “Celeste Aida”, it is obvious
that Walter Fraccaro was a fine Radames. His
commanding presence, glorious
tenor voice, and magnificent cloaks, make him to be totally convincing as the
hero chosen by the High Priest to go to battle for Egypt.
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| Latonia Moore - Aida Photo: Pat Stephens |
Resplendent
in a huge multi-coloured crinoline and tall headdress, there’s no mistaking
Latonia Moore for anyone other than the Ethiopian princess, Aida, enslaved by
the Egyptians, and not so secretly in love with Radames. Moore sings magnificently throughout, and brings
real passion and conviction to her scenes with the Egyptian princess, Amneris,
and later, with Radames, as they choose to die together rather than be
separated.
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| Milijana Nikolic - Amneris Photo: Prudence Upton |
Milijana
Nikolic is also a stunning Amneris. Wearing her extravagant costumes with the
flair of a super-model, and equally as glamorous, she uses her lustrous, warm contralto
to great effect, even managing to elicit sympathy for her character in her
final scene situated high above the audience.
David Parkin
is imposing in both voice and appearance as the High Priest, Ramfis. Gennadi Dubinsky is suitably regal as The
King, and Michael Honeyman offers a fine characterisation as Amonasro, Aida’s
father.
Working
under difficult conditions, Brian Castles- Onion keeps tight control over the
musical proceedings. His adroit conducting highlights the full drama of the
score, while generously allowing the soloists the latitude to linger over notes
when the drama requires it, without allowing the music to lose energy or flag.
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| Latonia Moore (Aida) - Michael Honeyman (Amonasro) Photo: Prudence Upton |
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| Walter Faccaro - Radames Photo: Prudence Upton |
As expected,
the Grand March, with its live animals, and wagonloads of plunder, is
impressively staged, particularly the section in which dozens of shiny black
coffins are laid out in the city square. Lucas Jervies has devised some eye-catching
dance moves for this sequence which will no doubt be sharpened by opening
night.
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| Latonia Moore (Aida) Walter Faccaro (Radames) Photo: Pat Stephens |
However it
is in the second act, when most of the action centres on the three central characters
that Edwards staging and direction really shines. With the aid of Matt Scott’s
brilliant lighting design, and clever use of mist -shrouded processions to
maintain the visual spectacle, Edwards keeps the attention firmly focussed on
the protagonists, allowing the opera to sweep the audience along to its
stunning conclusion.
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| Latonia Moore as Aida Photo: Pat Stephens |
This magnificent
production of “Aida” can truly be described as unforgettable. With the Opera House, Harbour Bridge and city
skyline glittering in the background, it sits beautifully in its stunning
setting on Sydney Harbour. It is hard to imagine anywhere else in the world
that could match this opera experience. Definitely none could offer
the sight of the departing Queen Mary sailing by, as she did on this night, as
a prelude.