Conducted by
Lorenzo Passerini – Directed and choreographed by Davide Livermore
Revival
Director: Shane Placentino – Costumes designed by Gianluca Falaschi
Set designed
by Gio Forma – Lighting designed by John Rayment
Digital
content designed by D-Wok.
Sydney Opera
House 22nd June to 13th August 2021.
Performance
22nd June reviewed by Bill Stephens.
When first
premiered in 2018, Opera Australia’s digital production of Verdi’s “Aida” was
hailed as the future of opera. The use of huge LED screens capable of
displaying gorgeous images in remarkably high-definition to replace cumbersome
conventional scenery signalled exciting possibilities, such as with the
forthcoming season in Brisbane when this production of “Aida” will alternate in
repertory between the operas in the Ring Cycle.
Even when
first presented many who found the visual effects dazzling puzzled over some of
the directorial and design decisions on the story-telling.
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| Leah Crocetto (Aida) - Lena Gabouri (Amneris) |
Yes, the
singing in the original production was glorious, and in this 2021 revival no
less so. Possibly some of the best operatic voices to be heard anywhere in the
world including Leah Crocetto (Aida), Elena Gabouri (Amneris), Stefano La Colla
(Radames), Warwick Fyfe (Amonasro), Daniel Sumegi (Ramfis), Gennadi Dubinsky
(The King). As well, as we have come to expect from the Opera Australia chorus,
the huge choruses were thrillingly sung and supported by the Opera Australia Orchestra under the baton of Lorenzo Passerini.
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| Leah Crocetto (Aida) - Stefano La Colla (Radames) |
Of course,
opera is about the singing. But it is also about storytelling, and works best
when the singing and storytelling are driven by the music.
The
direction for the singers in this production is very static, with little
attempt at dramatic interpretation. Therefore it plays like a series of
superbly sung, lavishly staged set-pieces, with little attention to the
story-telling.
Maybe the director was distracted by the possibilities suggested by the technology, choosing visual effects over dramatic interpretation from his singers. For instance a huge black panther appears behind Amneris, presumably to signal that she is up to no good. Images of near-naked men move into the grand hall, salute, then retreat. They keep doing this, distractingly, even when the protagonists are arguing over the fate of Aida’s father. Why is Aida trying to persuade Radames to escape the heat of the desert sun and run away with her when they are both clearly standing on a cool, moonlit beach? No doubt once the visuals are chosen, it’s no easy matter to change them should they not create the desired mood.
 |
| Warwick Fyfe (Amonasro) - Leah Crocetto (Aida) |
There’s
practically no physical contact or chemistry between any of the protagonists.
For most of the opera they simply sit or stand and sing to the front, barely
noting the presence of the other and rely on old-fashioned stock gestures to
denote emotion.
Most of the
movement is left to the team of hard-working dancers who unfortunately are
saddled with some remarkably unattractive choreography to perform.
 |
| The dancers in "Aida". |
Despite
these reservations there is much to enjoy which makes this production a “must
see”. Most memorably, the glorious
singing of the principals and chorus, the visual overload present in some of
the remarkably lavish set pieces, the beautiful LED visuals, and for this
reviewer, the gentle, visually stunning, opening and closing sequences.
 |
| Leah Crocetto (Aida) - Elena Gabouri (Amneris) |
Photos by Prudence Upton.
This review also published in Australian Arts Review. www.artsreview.com.au