29 Dec 2006
VERDI: Aida
A luminous blue backdrop, sliding columns, a solitary iconic prop (an over-sized falcon head in the opening scene, for example), singers frozen in stiff, awkward poses — yes, it's a Robert Wilson spectacular!
Recently in Recordings
Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers
The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
Anima Rara: Ermonela Jaho
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
Requiem pour les temps futurs: An AI requiem for a post-modern society
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
Max Lorenz: Tristan und Isolde, Hamburg 1949
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
Women's Voices: a sung celebration of six eloquent and confident voices
The voices of six women composers are celebrated by baritone Jeremy Huw Williams and soprano Yunah Lee on this characteristically ambitious and valuable release by Lontano Records Ltd (Lorelt).
Rosa mystica: Royal Birmingham Conservatoire Chamber Choir
As Paul Spicer, conductor of the Royal Birmingham Conservatoire Chamber Choir, observes, the worship of the Blessed Virgin Mary is as ‘old as Christianity itself’, and programmes devoted to settings of texts which venerate the Virgin Mary are commonplace.
The Prison: Ethel Smyth
Ethel Smyth’s last large-scale work, written in 1930 by the then 72-year-old composer who was increasingly afflicted and depressed by her worsening deafness, was The Prison – a ‘symphony’ for soprano and bass-baritone soloists, chorus and orchestra.
Songs by Sir Hamilton Harty: Kathryn Rudge and Christopher Glynn
‘Hamilton Harty is Irish to the core, but he is not a musical nationalist.’
After Silence: VOCES8
‘After silence, that which comes closest to expressing the inexpressible is music.’ Aldous Huxley’s words have inspired VOCES8’s new disc, After Silence, a ‘double album in four chapters’ which marks the ensemble’s 15th anniversary.
Beethoven's Songs and Folksongs: Bostridge and Pappano
A song-cycle is a narrative, a journey, not necessarily literal or linear, but one which carries performer and listener through time and across an emotional terrain. Through complement and contrast, poetry and music crystallise diverse sentiments and somehow cohere variability into an aesthetic unity.
Flax and Fire: a terrific debut recital-disc from tenor Stuart Jackson
One of the nicest things about being lucky enough to enjoy opera, music and theatre, week in week out, in London’s fringe theatres, music conservatoires, and international concert halls and opera houses, is the opportunity to encounter striking performances by young talented musicians and then watch with pleasure as they fulfil those sparks of promise.
Carlisle Floyd's Prince of Players: a world premiere recording
“It’s forbidden, and where’s the art in that?”
John F. Larchet's Complete Songs and Airs: in conversation with Niall Kinsella
Dublin-born John F. Larchet (1884-1967) might well be described as the father of post-Independence Irish music, given the immense influenced that he had upon Irish musical life during the first half of the 20th century - as a composer, musician, administrator and teacher.
Haddon Hall: 'Sullivan sans Gilbert' does not disappoint thanks to the BBC Concert Orchestra and John Andrews
The English Civil War is raging. The daughter of a Puritan aristocrat has fallen in love with the son of a Royalist supporter of the House of Stuart. Will love triumph over political expediency and religious dogma?
Beethoven’s Choral Symphony and Choral Fantasy from Harmonia Mundi
Beethoven Symphony no 9 (the Choral Symphony) in D minor, Op. 125, and the Choral Fantasy in C minor, Op. 80 with soloist Kristian Bezuidenhout, Pablo Heras-Casado conducting the Freiburger Barockorchester, new from Harmonia Mundi.
Taking Risks with Barbara Hannigan
A Louise Brooks look-a-like, in bobbed black wig and floor-sweeping leather trench-coat, cheeks purple-rouged and eyes shadowed in black, Barbara Hannigan issues taut gestures which elicit fire-cracker punch from the Mahler Chamber Orchestra.
Alfredo Piatti: The Operatic Fantasies (Vol.2) - in conversation with Adrian Bradbury
‘Signor Piatti in a fantasia on themes from Beatrice di Tenda had also his triumph. Difficulties, declared to be insuperable, were vanquished by him with consummate skill and precision. He certainly is amazing, his tone magnificent, and his style excellent. His resources appear to be inexhaustible; and altogether for variety, it is the greatest specimen of violoncello playing that has been heard in this country.’
Those Blue Remembered Hills: Roderick Williams sings Gurney and Howells
Baritone Roderick Williams seems to have been a pretty constant ‘companion’, on my laptop screen and through my stereo speakers, during the past few ‘lock-down’ months.
Bruno Ganz and Kirill Gerstein almost rescue Strauss’s Enoch Arden
Melodramas can be a difficult genre for composers. Before Richard Strauss’s Enoch Arden the concept of the melodrama was its compact size – Weber’s Wolf’s Glen scene in Der Freischütz, Georg Benda’s Ariadne auf Naxos and Medea or even Leonore’s grave scene in Beethoven’s Fidelio.
OPERA TODAY ARCHIVES »
Recordings
Traditional productions of Aida can become so encumbered with faux-Egyptian bric-brac and gaudy pageantry that the human heart of the story lies smothered underneath. For some, then, Wilson's approach cleanses the time-worn body of Verdi's masterpiece. For others, the bathwater may not be missed - but where's the baby?
OpusArte's DVD release of Wilson's Aida production at La Monnaie-De Munt from October 2004 will not be likely to add further converts to the store of Wilson fans. For whatever reason, the performers seem to be a rehearsal or two away from full comfort (if such is possible) with Wilsons' style. The close-up perspectives provided by the cameras reveal awkward countenances of forced concentration, as the singers try to remember at what uncomfortable angle their arms should should fold into next, or when to indicate a higher pitch of passion by twirling once. Wilson can be counted on to create at least a few moments of austere beauty, and those occur here too. But too often the blue pallor of the lighting suggests an Aida drained of its life-blood.
No fault for this lies with conductor Kazushi Ono, who guides the Monnaie forces through a lucid, detailed reading. In fact, the sheer energy and vitality of Verdi's score forces Wilson to actually allowing his singer/actors some more natural movement at times, with Ildiko Komlosi in particular taking the opportunity to unlock herself from a contorted pose and express Amneris's growing rage and frustration. As Amonasro, Mark Doss also manages to sing with such force (if not beauty) that he seems to have wandered in from a different production - at least until the ludicrous staging of the end of act three, when instead of fleeing he must follow the director's wishes and "glide" off the stage as the priest's guards stand immobile.
The best of the show comes at the end, in a scene often clumsy to stage in a traditional production. Radames and Aida do not find themselves in an actual tomb, but on a darkened stage, with eerie blue lights on their faces. This haunting spectral image serves as potent reminder of the latent power of an effective Wilson production - which most of the rest of this Aida does not.
Not helping matters, the three leads' singing fails to add any substantial insight or beauty to the proceedings. Norma Fantini stretches to encompass the demands of the title role, and the effort is felt too often. Marco Berti has a large, handsome voice, but one lacking true character. Not known as an actor in any staging, Berti's work here indicates that Wilson still needs some sort of vocal characterization to accompany his uniform approach to acting. Komlosi has the passion, as described above; the voice itself comes across as slightly worn and edgy.
Among the many other DVD versions of Aida, two especially come to mind as "antidotes," if you will, to the Wilson style. Franco Zefferelli leads a cast of very young singers in an intimate production from Verdi's hometown theater of Busetto. And from the 1980s in Verona comes a high-calorie staging, with a strong cast relishing the chance to eat into every square inch of granite scenery. Only the most confirmed Wilson devotees will find much to enjoy in this Monnaie version, however.
Chris Mullins