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4“Aida” is set in ancient Eqypt and is most famous for the spectacle of the “Triumphal Scene,” in which the Egyptian army returns victorious — with prisoners and spoils of war — after having beaten the Ethiopian army. Latonia Moore commanded the stage as “Aida,” a role she's performed at the Metropolitan Opera in New York City. He voice is lustrous and smooth on top, and has an emotional tinge even at the ends of phrases that taper quietly. Her lowest register was dry at first, but velvety long before the exquisite tomb scene. The soprano's power was thrilling to experience, both in solos and in big scenes. She also acted extremely well. All in all, an unforgettable company debut. Tenor Carl Tanner, also making his debut, was an uncommonly strong Radames, the Egyptian general in love with Aida but desired by Amernis, daughter of Egypt's king. Elizabeth Bishop gave an excellent portrayal of Amneris, one that generated real sympathy for her situation. Her powerful mezzo had the steel for a daughter of the king, and she controlled it with mastery that was nuanced to her changing moods — stong-willed, conflicted, cunning and vulnerable. Oren Gradus sang very well as Ramfis, the high priest, offering strength and dignity. Phillip Gay as the King and Jasmine Muhammad as the High Priestess were both effective. Walker led a wonderfully dramatic performance — well-paced, colorful and beautiful together in ensemble. Delicate moments were all the more magical for being precisely defined. He also let the orchestra and chorus rip at the right moments, which contributed to the sweep of the performance. This made Moore's ability to ride the climaxes all the more impressive. The orchestra was outstanding, apart from one bad chord at the end of the prelude. The string section had remarkable tonal character and cohesion. Wind solos, including piccolo, were keenly drawn. The brass, and especially trumpets, have a big role in this opera, and played magnificently. Timpani and bass drum also stepped up to Walker's scale of sonority for this opera.
The opera that I attended on opening night was astonishing. The orchestra played relaxingly and mellifluously to the ear. The setting to Giuseppe Verdi’s version of “Aida” was located in Egypt. Aida played by Latonia Moore, was a gorgeous Ethiopian servant to Amneris from Egypt and also a princess. The tone of the opening act was quite calm.The costumes used in the Opera fit perfectly to the Egyptian times of warriors, kings, queens and slaves. I remember sitting there as the opera began and seeing 4 guards who at the time, I thought were statues but were not. So the make-up, lighting and poise of the cast were quintessential! Now I don’t know if I was so amazed by the opera singing because of the divine voices or because I never heard opera before, which gave it some perks but the voice of the main characters were astounding. Amonasro played by Lester Lynch, had a very compelling, vigorous tone. Aida played by Latonia Moore had a melodious sweet sound. The opera itself was very dramatic. Between the love triangle and having to imagine choosing between my father and the love of my life how Aida did in this melodrama made it very emotional. I actually found myself getting teary eyed towards the final ‘hours’ of Aida and Radames' life
It’s a smartly written tale about how the humble servant Figaro and his friends try to outsmart the handsome and powerful Count Almaviva in such a way that all can live happily ever after. You might be put off a bit because it’s in Italian. But somehow with the text above the stage, the mode of the music, and the artistic lighting, I’m sure you’ll understand every word and feeling. It’s been over 200 years since this work had its premier, and yet it almost feels like Wolfgang Amadeus Mozart is standing in the wings. Almost as amazing as the opera is the talent brought together to make this production a reality. As I watched, I felt like everyone on stage had been singing and performing together for years. However, after reading their biographies, you realize that these extremely talented individuals have traveled many different paths to find themselves in Pittsburgh for our enjoyment. The audience was made up of opera lovers of all ages from teens to retirees. There is no dress code for going to an opera. A small percentage of those in attendance wore jeans and another small group were in formal attire. The Benedum is a gorgeous and an extremely comfortable venue for enjoying any kind of performance. Every time an opera singer takes a part in a production as famous and popular as The Marriage of Figaro, they are compared to the many talented performers who have sang that same part in days gone by. Let the experts compare. All I want to do is to say thanks to all the talented folks that gave me an evening I won’t soon forget. A special thanks to Tyler Simpson, who played Figaro, Joelle Harvey, who sang the part of Susanna, and Christian Bowers who brought to life Count Almaviva. All three were making their Pittsburgh Opera Debut. And a special thanks goes to Pittsburgher Danielle Pastin, who sang the roll of Countess Almaviva. I have always enjoyed opera music, but I sort of kept it to myself. I started to believe being an opera fan must be a cool thing when I learned that the great race car driver, Mario Andretti was an opera fan. Now, I don’t need someone else to validate my appreciation of the art form; I simply enjoy it. And I’m sure you would too.
Pittsburgh Opera traditionally stages chamber operas in an intimate space at its Strip District headquarters. But due to the pandemic’s crippling effect on live events, the company had to invest in several safety measures to do a live show. Audiences are limited to 50 socially distanced, masked people. Those who leave the auditorium are not allowed to re-enter, and a lengthy COVID-19 questionnaire greets patrons upon arrival. The entire cast wears masks throughout the performance. It doesn’t mar the sound quality of the voices in the small space. The 17-member orchestra, led by music director Antony Walker, plays from an adjacent room with large openings into the makeshift auditorium. The on-stage talent keeps time with the maestro through screens streaming his musical direction. “The singers, apart from the annoyance of having to sing in a mask, are handling it extraordinarily well,” Mr. Hahn said. “Just happy to be making music, as is our orchestra. They were almost all in tears after our first rehearsal because they haven’t been playing anything.” He noted the four groups — staff, performers and stage crew, audience and orchestra — had to remain as separate as possible. Due to the difficulties, Pittsburgh Opera is the only opera company on the East Coast currently doing live indoor performances, Mr. Hahn said. “They are just so thrilled that there’s anything, and these singers are deeply loved by the opera community,” he said. “In a way, this is a special treat. It’s a whole different experience. We made a collective decision to try to show there was a way to stay connected to our audience in as many ways as possible.”
