Verdi: Aida -- Royal Opera House [DVD]

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Cast: Elena Stikhina(Aida), Francesco Meli(Radames), Agnieszka Rehlis(Amneris), Ludovic Tézier(Amonasro), Soloman Howard(Ramfis), In Sung Sim(King of Egypt) Aida – Elena Stikhina, Radamès – Francesco Meli, Amneris – Agnieszka Rehlis, Amonasro – Ludovic Tézier, Ramfis – Soloman Howard, King of Egypt – In Sung Sim, High Priestess – Francesca Chiejina, Messenger – Andrés Presno; Director – Robert Carsen, Conductor – Sir Antonio Pappano, Set Designer – Miriam Buether, Costume Designer – Annemarie Woods, Lighting Designers – Robert Carsen and Peter van Praet, Choreographer – Rebecca Howell, Video Designer – Duncan McLean, Orchestra and Chorus of the Royal Opera House.

In this, his penultimate annual season at Covent Garden before moving to the London Symphony Orchestra, it is tempting to reach out and beg him to stay. Drawing stirring ensemble playing and intimate solos from the orchestra, he is also superbly served by the strong and immaculate chorus, always on parade or on manoeuvres and rejoicing in violence, even as interpreted in dance by choreographer Rebecca Howell. Carsen sweeps it all aside in this stark, contemporary vision of the piece, which despite its slightly wearying design arrives smartly at the dramatic nexus of Verdi’s grand operas: love and politics failing to add up, and a sense of horror about what people in love with war will do to each other. His production replaces that of David McVicar, which was notable for its gory procession in Act two, putting in its place something more abstract and chilling. It is 20 years since Sir Antonio Pappano was first named music director of the Royal Opera House, then the youngest person to have held this post. Two decades later, audiences know that in the Italian repertoire in particular the orchestra and chorus of the Royal Opera are in hands not only expert but thoughtful, passionate and kind. Cross-cultural impulses inspire the opening concert of Hong Kong Musicus Society’s 2023 festival (28/11/2023) In this new production, director Robert Carsen situates Verdi’s large-scale political drama within a contemporary world, framing its power struggles and toxic jealousies in the apparatus of a modern, totalitarian state.Insula’s Sky Burial at the Barbican is a stunning evening, unique, and vitally important (22/11/2023)

Breathing forests and village weddings energize the San Francisco Symphony and Esa-Pekka Salonen (22/11/2023) Carsen’s wish to show the destruction of the individual by the apparatus of the state is powerfully fulfilled by the three principals. Francesco Meli is an upright, proud Radamès, very much a man of patriotism and integrity, but convincingly humbled by love. His tenor reached strongly to the top, but sometimes without nuance, though he paced his performance effectively. As Aida, Elena Stikhina gave an astonishingly insightful portrait of emotional suffering and inner conflict. This was not a showy performance, and at first I wondered if her soprano would rise above the resounding orchestral forces, but she saved her vocal intensity for the latter stages of the opera where it made a tremendously affecting impression. Rarely has torment and anguish sounded so sweet. Agnieszka Rehlis’s Amneris transformed persuasively from a spoilt, contemptuous schemer to a woman rent apart by despair when her pleading with the priests fails to save Radamès from his fate. Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team. Sadly, due to a family illness, Angel Blue is unable to perform the role of Aida on 23, 27 May and 1 June. She will be replaced by Christina Nilsson. CALLAS – PARIS, 1958 in cinemas soon should not be missed by opera lovers of whatever vintage (06/11/2023)It’s not a production built on traditional spectacle, which can be both frustrating and clarifying. The ballet sequences are a mixed affair. At the top of Act two Amneris’ servants are given little more to do than extravagantly and mechanically set a dinner table, at which no one ever actually sits down to eat. The final scene takes place in a sort of weapons storage facility, which is oddly lit with a rather muddy yellow light that doesn’t capture either transcendental reconciliation to the heroes’ fate nor the score’s final invocation, perhaps hopeful, of “ pace .” Director Robert Carsen has envisioned a combination of America, China and Russia as the key influences for the new Aida aesthetic. However, no one superpower is represented, and it speaks to the timeless theme of power and war-time conflict instead. The set’s (Miriam Buether) colour scheme is stark; lifeless grey dominates the palette, interjected by splashes of red carpet or flag. Even the costumes (Annemarie Woods) reflect this, ranging from khaki to ashen, with the King of Egypt and his daughter getting to wear a rare blue and red while celebrating victory. The lighting (Robert Carsen and Peter van Praet) also adds seamlessly to the oppressive atmosphere, casting massive shadows outlining uniformed men onto the blank canvas of the walls. Having the director this closely involved with the lighting decisions paid off hugely; all of the chorus-heavy scenes feature at least one tableaux imprinted ten times larger in silhouette onto the bunker walls, looming over us like the dark fates of Radames and Aida. Ramfis ( Solomon Howard) who is ordinarily a High Priest, here appears as an intimidating senior military attaché whilst the rest of the junta wouldn’t have appeared out-of-place in Mubarak’s Egypt. When he presents the General with the icon which will lead Egypt to victory in battle, here it manifests as a Kalashnikov assault rifle. Tightly choreographed set pieces involve the enormous chorus and dancers who have been drilled into a marching/fighting machine equal to any found on an equivalent parade ground or battlefield. Aside from the assault rifle distribution scene, the 2 other notable unsung orchestral interludes give rise to an inspection of the guard by the king and the laying of the victory banquet table. Both are inspired choices and add considerably to the audience’s enjoyment — if only due to the excited nervousness which comes from anticipating whether every chorus member will have managed to reach his/her designated place by the last note. Ferocity and heartbreak’: Elīna Garanča, right, as Amneris, with Angel Blue in the title role, in the Royal Opera’s Aida. Photograph: Tristram Kenton/The Guardian