The singers trump the sets (for once) in the Met's latest Aida.
by Paul J. Pelkonen
Since 1988, Sonja Frisell's over-the-top Metropolitan Opera production of Verdi's Aida has been a house favorite. Tourists and opera lovers flock to see the sandstone walls, white-and-gold costumes and spectacular depictions of Ancient Egypt, inspired by the Temple of Dendur at that other Met across town. But thanks to some questionable casting decisions in recent years, the show's big set pieces tend to supersede what is essentially an intimate drama against a huge backdrop.
All that changed Monday night with this current revival, boasting the talents of Liudmila Monastyrska in the title role. This run marks the Ukrainian soprano's house debut as the Ethiopian princess. For once, listeners could look forward to "Ritorno vincitar." The Act I monologue/aria was sung as intended, with a smooth legato and limpid tone that floated above the stilled orchestra.
Things got better from this encouraging start. Ms. Monastyrska won the audience in her Act II confrontation with Amneris even as her character sunk into self-pity. She sliced cleanly through the big ensembles in the Triumph Scene, underlining Aida's plight. Best of all was Act III, where she dominated the banks of the Nile. "O patria mia" presented with the climactic high notes sung, not shrilled.
by Paul J. Pelkonen
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| Aida (Liudmila Monastyrska, l.) emotes as Amneris (Olga Boridina) glowers in the Met's latest revival of Verdi's Aida. Photo by Marty Sohl © 2012 The Metropolitan Opera. |
All that changed Monday night with this current revival, boasting the talents of Liudmila Monastyrska in the title role. This run marks the Ukrainian soprano's house debut as the Ethiopian princess. For once, listeners could look forward to "Ritorno vincitar." The Act I monologue/aria was sung as intended, with a smooth legato and limpid tone that floated above the stilled orchestra.
Things got better from this encouraging start. Ms. Monastyrska won the audience in her Act II confrontation with Amneris even as her character sunk into self-pity. She sliced cleanly through the big ensembles in the Triumph Scene, underlining Aida's plight. Best of all was Act III, where she dominated the banks of the Nile. "O patria mia" presented with the climactic high notes sung, not shrilled.
