Aida an entertaining night at the opera
Under Bellincampi, orchestra shines with Verdi’s vibrant score
Without a pyramid or palm tree in sight, Auckland Philharmonia Orchestra’s concert Aida was a highly entertaining night at the opera, resourcefully marshalled by director Stuart Maunder.
Under Giordano Bellincampi, the APO made the most of Verdi’s vibrant score, from the first two acts’ spectacular marches to more exotic evocations later, although some dances and processional music cried out for stage action.
The Freemasons New Zealand Opera Chorus was an integral presence, on stage and off, with the glorious soprano of Anna Leese wafting through the walls. The men were sonorously solemn priests, the women sweet-voiced slaves.
Commissioned to celebrate Cairo’s new opera house, Aida combines politics and passion; conflict between Egypt and Ethiopia backdrops an eternal triangle of two princesses in love with the military hero.
Olesya Petrova was a world-class Amneris, the Pharoah’s daughter, whether engaged in emotional catand-mouse games with Aida or drawing on her full and impressive vocal armament to win over Ramades.
Antonello Palombi’s Ramades was more than equal to the Russian supermezzo. His absolute authority and ringing tone never failed.
Maria Luigia Borsi, so affecting as Desdemona in the APO’s 2016 Otello, did not quite capture the proud princess of the title role. Portraying Aida as a vulnerable heroine was an interesting angle, but notes were submerged under orchestral surges and later powerful duets lost some intensity.
Minor roles, including Lucio Gallo as Aida’s father, were efficiently handled, and Oliver Sewell brought tonal freshness as the Messenger.