This charmless Aida simply won’t do
Robert Carsen’s dire production of Aida returns for the second half of its inaugural run, even better sung than first time out, but still lamed by a production that’s awful to look at.
To be positive, this is a seriously good listen throughout. Angel Blue is a convincing Aida, though why this charismatic woman allowed herself to be kitted out like a ragand-bone man’s moll is beyond me.
SeokJong Baek is an effective Radames; a Korean tenor who doesn’t sound like a Korean tenor! Quite a find.
The always impressive Soloman Howard is an authoritative high priest, or as much as he can be when presented throughout as an American officer. Another piece of gratuitous nonsense from the director.
I’m glad to see Elina Garanca is back in favour. Her Amneris, the spoilt and jealous daughter of the King of Egypt (James Platt), would have sounded better a few seasons ago, but remains pretty compelling. Sir Mark Elder conducts with the kind of authority that makes me even more sad that this outstanding British musician never got his chance to be music director at Covent Garden. The orchestra play well for him, and musically this is a most satisfying evening.
Now, with a heavy heart, I return to the excessively militaristic production, where no attempt has been made to clear up even the most obvious blemishes.
Aida is a supremely romantic opera. Any romance is beaten out of it by a ridiculous array of American soldiers, strutting their stuff, even risibly participating in one of the ballets. Everything is distorted to fit this militaristic concept, including totally changing the character of the
High Priest. Well before the end, I defy anyone not to have lost patience with these ugly Americans dominating the stage.
It’s amazing Covent Garden ever commissioned this charmless rubbish. And it will be little short of disgraceful if it’s ever offered another revival.
This production simply won’t do. I hope never to have to see it again.