Opera: “Aida” at the Met
Some opera fans may be disappointed to learn that there are no live animals on the stage of the Met’s new production of Verdi’s “Aida.” They’ve been replaced by small replicas of horses, elephants and other beasts associated with the opera.
Cause for neigh-saying? Not at all.
The good news is that “Aida” has survived intact—and to my mind improved in Michael Mayer’s conservative but efficient new production.
As the curtain rises, archeologists dressed in Indiana Jones-like garb appear to be discovering the relics of an ancient civilization. What they’re actually about to do is imagine the opera whose subject is the battle between the ancient Ethiopians and the Egyptians. At the center of the action is Aida, an Ethiopian slave torn between her love for the handsome Egyptian war hero Radames and duty to her country.
Angel Blue was excellent in the title role, singing with elegance and hitting every high note with aplomb and grace. Her fiery battle with rival Princess Amneris (mezzo-soprano Judit Kutasi) over Radames (the tenor Piotr Beczala) was thrilling both dramatically and musically.
Beczaka, we were informed at intermission, was recovering from a bad cold but decided to perform anyway. All things considered, he sang wonderfully, right up until the final scene. Baritone Quinn Kelsey was impressive as Amonasro, the Ethiopian ruler and the father of Aida, who has been captured and enslaved by the Egyptians.
While there were no live horses in this production, the audience was instead treated to a chorus line of brawny male dancers performing military moves in tunics. This was Oleg Glishkov’s debut choreographic effort at the Met, and it was greeted by a five-minute ovation.
Kudos to the Met for their ongoing efforts to make opera more relevant to a new audience. My advice is to call or visit the Met online at your earliest convenience, to avoid the—ahem—stampede for tickets.
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