Past Production Reviews
3“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
The staging Pittsburgh Opera presented was originally created for Canadian Opera Company in Toronto by Diane Paulus. While it does generate plenty of laughs, it shows no sympathy for many of the opera's more serious aspects that motivated its creators. The staging's concept is ostensibly a play within a play. In practice, it's not much more than an initial frame soon dropped entirely. The stage action in this production begins during the overture, when the curtain is usually closed. We see the opera's characters preparing for a performance of “The Magic Flute” as part of a birthday party for a wealthy family's daughter, Pamina. The opera's first act is performed on a small stage, observed at first by Pamina, her father, others in the household and Pamina's mother, who is divorced from her father. Her father will be Sarastro in the opera, her mother, the Queen of the Night. The audience on stage is gone well before the end of the first act and dispensed with entirely in the second act, along with the tiny stage within a stage. most of the cast was excellent Nov. 9, and the entire performance was shaped superbly by conductor Antony Walker. Nearly all the cast was a past or current member of a resident artists program. Most were from Pittsburgh Opera's program, and Layla Claire, who played Pamina, completed the program at the Metropolitan Opera in New York City. Pamina and her prince, Tamino, are the principal romantic couple in the opera, and both roles were superbly sung. Soprano Claire has an exceptionally appealing voice in her middle and upper registers — clean and clear with just the right amount of warmth. She retains tonal luster up to the high B flats and has ample agility. Once the ditsiness of Pamina's personality during the overture is past, Claire's portrayal was a bit more assertive than one usually encounters in this part. While Oren Gradus was impressive in some passages, Sarastro's tessitura requires a singer with a much stronger lower register. The orchestra played extremely well throughout the opera, though more violinists would have been welcome. Woodwind solos were full of personality and admirable tone, while the brass and timpani were sonorously remarkable. The glockenspiel part was expertly performed on an electronic keyboard. Pittsburgh Opera Chorus was superb, consistently producing firm, well-centered singing. Some of the staging was unintentionally funny, such as bearded ladies playing the three spirits
