Most grand opera is a creature of spectacle. Verdi’s Aida is, inherently, perhaps one of the opera’s that best embodies that phenomenon. Whether a main stage theatre production or a big arena extravaganza, complete with live elephants, it is a story that begs for excess.
Graeme Murphy’s Production of Aida
Graeme Murphy’s vision of Aida is no exception, although, there are subtleties in the method of his realisation of this production’s extravagance. The set is decidedly minimalist, making excellent use of shifting triangular panels, suggestive of the great pyramids, on an otherwise bare stage to set the scene.
Scenic changes are wrought via the use of cut-out columns, hieroglyphic motifs and symbolic elements – such as the great sword of Egypt – being flown in from the flies, or moved in from the wings via a travelator mechanism along the front of the set. These are overlaid by a rich range of projections, which add layers of complexities to an essentially simple device.
At times, the projections are a bit distracting, creating a ‘busy-ness’ that can get in the way of the action, but the overall effect is rich and interesting. The cut-outs themselves are also effective, but at times, a little overdone. At times, they are a bit gimmicky, which lessens their effect.
Travelators can be a useful theatrical device when used judiciously. In this case, it was perhaps overused – simply on the basis of it being available. There was excellent use made as a component of the ballet choreography, with the dancers being able to strike marvelously sculptural poses while being moved across the stage – evoking the hieroglyphic frieze of great Egyptian tombs. It was less successful when used by the singers in situations where, without it, the onstage drama would possible have suggested minimal movement in the blocking.
The Adelaide Performers in Graeme Murphy’s Aida
Kate Ladner, as Aida, is a triumph. It is an engaging and sympathetic interpretation of the role. The character’s multiple vulnerabilities – a slave concealing royal identity, her love for Radames who is also loved by her mistress, Amneris – are beautifully realised. Ladner’s vocal control in her upper range was impressive, the high pianissimo notes were exquisite.
Campbell’s Amneris, in contrast, comes across as something of a harridan. The character is, like many of these lower voiced supporting roles, a complex woman. The fury and competitiveness of her part in the love triangle between Radames, Aida and herself was very evident. The feminine vulnerability and fears that she might lose Radames to Aida despite her position of power were not.
Radames is one of those heroes – a dashing young man, a soldier, a favoured figure, and a man with a conscience. Rosario la Spina sings the role beautifully, demonstrating yet more consistent vocal growth in these larger roles. His stage presence is also becoming more commanding, and this was a convincing portrayal of the character.
Local performers David Hibbard, Adam Goodburn and Douglas McNicol were impressive. McNicol was a force to be reckoned with in his role as Amonasro, and the scene in which he accuses Aida of potentially betraying their people with her love for Radames was particularly strong.
Popular favourite among the cast, was David Parkin, playing the Egyptian king. Parkin was the winning contestant of OperatunityOz and is playing this role for the production with all the participating companies. In the few years since the competition, this newcomer to professional opera performance has gained enormous confidence and plays the role of King with appropriate dignity and authority. Vocally, he is outstanding and will be very exciting to watch when he moves to full time performance.
The State Opera Chorus and the Adelaide Symphony Orchestra
The augmented SOSA chorus of some sixty singers were impressive, as all large choruses can be. The added depth of having a good number of larger, lower voices, particularly among the women, was very satisfying in the larger choruses.
The Adelaide Symphony Orchestra, under the baton of conductor Graham Abbott were triumphal in the Grand March, lyrical in their accompaniments of solo arias, and delightfully chatty through linking recitatives. As is often the case with this orchestra in this theatre however, there were times when it was difficult to hear the singers, particularly in the lower register.
Aida in Brisbane
The production moves to Brisbane after the Adelaide season. After a sellout season for the State Opera of South Australia, Queensland hopefuls will need to be quick to make sure of their tickets, as this is one show that will, in all likelihood, sell out there in its final season of the run.
Karen Finch - Karen is a Sydney based freelance writer, artist and musician. To learn more, click on her name to read her profile.
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