In order to celebrate the fortieth anniversary of the normalization of relations between Japan and China, Tokyo’s New National Theatre and Beijing’s National Centre for the Performing Arts have decided to expand their already existing technical cooperation to the co-production of a concert version of Giuseppe Verdi’s Aida (albeit rather cut, more like what the Germans call “grosse Querschnitt”) for performances both here and in Beijing.
Is Aida a role for a dramatic soprano? This is an interesting question – the range, the length, the need to project above large ensembles suggest something like that, but there is an increasing demand of soft singing and lyric quality as the opera evolves to its end. If one checks the discography and schedules of opera houses, one soon realizes that there are few real dramatic sopranos tackling the role (Birgit Nilsson was probably the most assiduous exponent in this Fach in the last 60 years), but rather what one calls lirico spinto sopranos. Hui He would rather fit into this category – she has sung a great deal of Puccini and heavier Verdi roles in the leading theaters in the world, but Aida is probably her most dramatic venture so far (it seems she is planning to sing Gioconda and Senta). Some have dismissed her Ethiopian princess as lacking power around the passaggio – but I would say that some very famous Aidas have showed the same problem (Leontyne Price, for example). Today she actually sang beautifully – her round, creamy voice projected effortlessly, her high mezza voce is exquisite, she never sang bureaucratically, but rather invested every phrase with imagination and emotion, while avoid coming across too strongly. Her Italian is greatly improved since I last saw her, and she even sounds quite “Italianate” if one has in mind the way Italians used to sing in the 1950′s. She got away with pianissimo in some very tricky passages à la Caballé – and did it with good taste and sensitivity. Given her competition, I would say she is probably the most technically assured and varied Aida in the market these days, the vulnerability playing an important part in it.
Without the Judgment Scene (Radames went this evening straight from Già i sacerdoti adunansi to La fatal pietra), it is difficult to say something definitive about the mezzo soprano. Since Kasumi Shimizu had problems to pierce through in her middle register, I would say that Amneris is a bit on her limits, but she handle her limits very expertly, especially in what regards producing big, powerful high notes. Moreover, she has a very appealing tonal quality, with a touch of Grace Bumbry in it. A very interesting voice – I wonder what she could in German repertoire. Tenor Satoshi Mizuguchi too has a pleasant voice – warm yet bright, but his high register is tight and unflowing. He got tired during the evening and, if his acuti were still very firm, sustaining them cost him a visible effort. Baritone Chenye Yuan has a tiny bit of Piero Cappuccilli in his grainy, dark baritone, but his was a tad short in volume and had his fluttery moments. This is the second time I hear bass Hidekazu Tsumaya (Ramfis) and I am again impressed with the focus and the noble tonal quality.
Although the singing was often exciting, Junichi Hirokami’s kappelmeisterlich conducting often robbed the performance of its excitement. The Tokyo Philharmonic Orchestra’s strings could have a richer sound, and this was particularly felt when brass instruments saturated the sound picture in an almost band-like manner. The conductor did display a welcome sense of organization and cleanliness, but that was much it. One rarely felt the necessary sense of climax building (number one requirement in Verdi) and his a tempo approach often meant that soloists attempts in rubato seemed nothing but lack of synchronicity. Finally, the collaboration of both theaters’ choruses was truly praiseworthy in its warmth and homogeneity.