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Verdi: Aida, Ellen Kent Opera and
Ballet International, New Theatre Oxford, 26 April 2014
As part of my crusade to introduce new and younger audiences to opera, I found myself in the company of eleven young ladies, many of them opera virgins, at Oxford’s New Theatre to see a performance of Verdi’s Aida given by Chisinau National Opera & National Philharmonic Orchestra presented and directed by Ellen Kent. The immediate reactions of some are summarised at the end of this section.
Ellen Kent’s productions with the Chisinau (from Moldova) and Ukrainian National Companies seem to inhabit a parallel universe to most opera companies in having no fixed base in the West. They seem to occupy a circle of Hell rushing from place to place in a hectic schedule as opposed to the relative Purgatory of most Touring Companies. On this year’s autumn to spring season they visited an incredible sixty-three venues in the British Isles, presenting also La Bohème and Nabucco. This is in part mitigated by multiple casting and by local recruitment from local dance schools in this case Stagecoach Theatre Arts, Oxford.
I last reviewed this Company’s Aida in 2007 but this was a new production. However the plot has not changed and I reproduce the summary given then: The Egyptian heartthrob Radamès is loved by the jealous Princess Amneris as well as by the Ethiopian slave girl Aida. Leading a victory over Ethiopia, Radamès takes prisoners, including Aida’s father, the King Amonasro, incognito. Aida persuades Radamès to betray the Egyptian plans but he is discovered and denounced by Amneris and Ramfis, the High Priest. Condemned to death by immurement, Radamès discovers Aida in his tomb and they sing a tear-jerking duet as they prepare for death. I noted in 2007 that ‘this was a splendid spectacular straining to the limits the constraints of the New Theatre’s stage’. This was unhappily not the case in the new production. Instead of the Grand March involving triumphant soldiery marching on, we had static effeminately white-clad troops. On the other hand, the orchestra, which often disappointed in this Company, was superb on this occasion, thoroughly worthy of the singers most of whom would not disgrace the stage of the world’s best Houses. The celebratory dancing was beautifully staged with four Stagecoach youngsters stealing the scene which concluded with an amazing fire-spinner Andy Wakeford juggling flames.
Of the four men singers three were exceptional, only the King of Egypt weak. Radamès, Sorin Lupu, a slightly scaled -down Pavarotti, had the right charisma and voice. Iurie Maimescu was impressive and authoritative as Ramfis the High Priest but outstanding was Petru Racovita (as in 2007) who sang Amonasro: he should be an international star, though known at the Bolshoi. The jealous Princess Amneris was sung by Zarui Vardanean. Her voice is rather light for the part, too soprano in timbre, rather than mezzo, in her upper register but she improved in her last scenes in her lower register. But the undoubted star of the show was Olga Perrier as Aida. The fragile charm and dignity she displayed in her performance won all hearts in the audience and made Radamès infatuation entirely credible. Not on this occasion was, as so often, Aida upstaged by the more complex character of Amneris.
The orchestra conducted by Nicolae Dohotaru provided worthy support to the singers, making this, musically, one of the best Aida’s I have ever seen but with, in parts, a disappointing staging.
So how was it for the opera virgins? Several had expressed apprehension beforehand that they had no idea of what to expect, fearing they would not be able to follow what was going on. This was immediately dispelled and they were able to lean back and enjoy the experience following the surtitles. All were totally enthused by what they saw and heard and were able to give perceptive views on all aspects of the production: ‘fascinated by the attention to detail’, ‘the orchestra certainly knew how to draw you in … telling the story with their instruments’; they raved about the singing and acting of Aida and Radamès. Their judgement of Amneris was far harsher than my own. These reactions convince me of my view that the way to attract new audiences is not by dumbing-down or patronisingly attempting to impose modern ‘relevance’ but by presenting traditional old-fashioned productions such as those of Ellen Kent. Sophistication will come later.
Most of our party wanted to know what opera to see next. I can tell them that Welsh National Opera will be in Oxford, 15 -18 October with Carmen and two Rossini operas, William Tell (long and boring) and Moses in Egypt (a rarity). Carmen is a must-see for the novice. Booking opens 27 May.
PETER SCHOFIELD
29 April 2014
As part of my crusade to introduce new and younger audiences to opera, I found myself in the company of eleven young ladies, many of them opera virgins, at Oxford’s New Theatre to see a performance of Verdi’s Aida given by Chisinau National Opera & National Philharmonic Orchestra presented and directed by Ellen Kent. The immediate reactions of some are summarised at the end of this section.
Ellen Kent’s productions with the Chisinau (from Moldova) and Ukrainian National Companies seem to inhabit a parallel universe to most opera companies in having no fixed base in the West. They seem to occupy a circle of Hell rushing from place to place in a hectic schedule as opposed to the relative Purgatory of most Touring Companies. On this year’s autumn to spring season they visited an incredible sixty-three venues in the British Isles, presenting also La Bohème and Nabucco. This is in part mitigated by multiple casting and by local recruitment from local dance schools in this case Stagecoach Theatre Arts, Oxford.
I last reviewed this Company’s Aida in 2007 but this was a new production. However the plot has not changed and I reproduce the summary given then: The Egyptian heartthrob Radamès is loved by the jealous Princess Amneris as well as by the Ethiopian slave girl Aida. Leading a victory over Ethiopia, Radamès takes prisoners, including Aida’s father, the King Amonasro, incognito. Aida persuades Radamès to betray the Egyptian plans but he is discovered and denounced by Amneris and Ramfis, the High Priest. Condemned to death by immurement, Radamès discovers Aida in his tomb and they sing a tear-jerking duet as they prepare for death. I noted in 2007 that ‘this was a splendid spectacular straining to the limits the constraints of the New Theatre’s stage’. This was unhappily not the case in the new production. Instead of the Grand March involving triumphant soldiery marching on, we had static effeminately white-clad troops. On the other hand, the orchestra, which often disappointed in this Company, was superb on this occasion, thoroughly worthy of the singers most of whom would not disgrace the stage of the world’s best Houses. The celebratory dancing was beautifully staged with four Stagecoach youngsters stealing the scene which concluded with an amazing fire-spinner Andy Wakeford juggling flames.
Of the four men singers three were exceptional, only the King of Egypt weak. Radamès, Sorin Lupu, a slightly scaled -down Pavarotti, had the right charisma and voice. Iurie Maimescu was impressive and authoritative as Ramfis the High Priest but outstanding was Petru Racovita (as in 2007) who sang Amonasro: he should be an international star, though known at the Bolshoi. The jealous Princess Amneris was sung by Zarui Vardanean. Her voice is rather light for the part, too soprano in timbre, rather than mezzo, in her upper register but she improved in her last scenes in her lower register. But the undoubted star of the show was Olga Perrier as Aida. The fragile charm and dignity she displayed in her performance won all hearts in the audience and made Radamès infatuation entirely credible. Not on this occasion was, as so often, Aida upstaged by the more complex character of Amneris.
The orchestra conducted by Nicolae Dohotaru provided worthy support to the singers, making this, musically, one of the best Aida’s I have ever seen but with, in parts, a disappointing staging.
So how was it for the opera virgins? Several had expressed apprehension beforehand that they had no idea of what to expect, fearing they would not be able to follow what was going on. This was immediately dispelled and they were able to lean back and enjoy the experience following the surtitles. All were totally enthused by what they saw and heard and were able to give perceptive views on all aspects of the production: ‘fascinated by the attention to detail’, ‘the orchestra certainly knew how to draw you in … telling the story with their instruments’; they raved about the singing and acting of Aida and Radamès. Their judgement of Amneris was far harsher than my own. These reactions convince me of my view that the way to attract new audiences is not by dumbing-down or patronisingly attempting to impose modern ‘relevance’ but by presenting traditional old-fashioned productions such as those of Ellen Kent. Sophistication will come later.
Most of our party wanted to know what opera to see next. I can tell them that Welsh National Opera will be in Oxford, 15 -18 October with Carmen and two Rossini operas, William Tell (long and boring) and Moses in Egypt (a rarity). Carmen is a must-see for the novice. Booking opens 27 May.
PETER SCHOFIELD
29 April 2014