Director Guy Joosten believes that the Egyptian setting is almost irrelevant to the story of Aida: there was very little knowledge about pharaonic Egypt in Verdi’s days and Verdi and his librettists were rather interested in the public/private conflicts in times of war. Although this was my first non-Egyptian Aida, I believe Mr. Joosten has a point. I did not miss the elephants and pyramids, but that’s basically where my agreement with the director ends. Everything else in this staging is kitsch, superficial, scenically messy and devoid of expression. Considering that Aida and Radames are buried alive, the giant ants are in very poor taste. Even if this was a joke (?!).
The fact that Stefan Soltesz kept the whole performance under a very tight rein – metronomic beat whenever his singers did not insist very much in rubato, dry sound palette and an emphasis rather in discipline than in interpretation – gave the performance as a whole a very cold impression.
I had seen Liudmyla Monastyrska as Lady Macbeth and thought that, although she sang impressively, her personality would work for better effect in a less formidable character. That was not off the mark. I am indeed surprised that this soprano was able to found an almost ideal morbidezza, truly exquisite mezza voce and a commendable sense of legato. I have the impression that Montserrat Caballé is her model for this role and her whole performance was built around vulnerability, loveliness and emotional generosity. Good as this was, it would benefit from the guidance of a truly experienced conductor and maybe director to refine her choices in terms of interpretation and some stylistic and also technical aspects (poorly supported low register, especially) to make it really special. It is definitely worth the while – in terms of facility, volume and commitment it is already top level.
There has been a great deal of replacement this afternoon. Michaela Schuster was supposed to sing Amneris, but had to be replaced by Marina Prudenskaya in the last minute. This Russian mezzo is extremely gifted in the acting department, but hers is not an Italian dramatic mezzo: volume was insufficient and there was not enough slancio to help her out. She made it – securely, it is true – by virtue of sheer physical force and technical security. As it is, praiseworthy as the effort is, it is not really more than this. The other replacement, previously announced, was Carlo Ventre, who jumped in for Roberto Alagna. Mr Ventre’s tenor is still smokier than last time and his glottal gulps and the habit of starting phrases with mm are becoming quite annoying. He still has very powerful high notes, but there is little art elsewhere. It was endearing to find Franz Grundheber as Amonaaro – his baritone still firm and pleasant, if understandably a little dry.