Aida |
| Ellen Kent and Opera International , Swansea Grand Theatre , November 24, 2004 |
| This review first appeared in The Western Mail Producer Ellen Kent is renowned for making opera accessible to audiences who would normally never dream of walking through the doors of a theatre. The secret, it would seem, is to create a visual spectacle against which the intricacies of an operatic performance are played out - an unashamedly populist approach which works every time and brings out the punters in their droves. The remarkable thing about Kent's productions is that they invariably attract operatic purists as well as newcomers, and they work not only on a purely visual level but also in terms of technical accomplishment and storytelling. This production of Verdi's masterpiece, set in ancient Egypt, features the Chisinau National Opera together with a live orchestra under the baton of conductor Nicolae Dohotaru and dancers from the Chisinau National Ballet. The end result is a veritable feast for the eye as well as for the ear, and it is probably fair to say that the story of the ill-fated romance between an Egyptian commander and an Ethiopian slave girl has rarely been told in a more easily understood and involving fashion. Natalia Margarit's performance in the title role is mature and well rounded, punctuated by a vocal ability which keeps one riveted from the outset, while the role of Radames is played by tenor Akhmed Agadi - looking, it has to be said, rather more like Spartacus than an Egyptian commander but no less effective for that. Nadejda Stoianova is an effective Amneris, while the role of Amonasro is ably portrayed by Boris Materinco(though it has to be said that his barely-black body stocking is perhaps a little politically incorrect in this day and age). The visual gimmicks this time around included a fountain which evoked memories of Liberace's Waltzing Waters, a life-sized bejewelled elephant(not a real one, obviously)and spectacular Egyptian sets which incorporated meticulously researched hieroglyphics and authentic designs, all underpinned with atmospheric lighting and splendidly staged set pieces. Previous Ellen Kent productions have featured live animals - hawks, hunting dogs and on one occasion a horse - and it is heartening to see that on this occasion the temptation to use real animals had been firmly resisted, though whether this had more to do with practical considerations than with animal welfare remains uncertain. Opera buffs are notoriously hard to please but this was a piece which scored highly on a number of levels, and it was particularly pleasing to see a theatre filled to capacity for such a high quality production. |
Reviewed by: Graham Williams |
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