Film & TV

Film/Opera Review: Aida

A magnificent filmed stage show of Giuseppe Verdi’s crowning jewel opera. A new production presented by Teatro alla Scala and filmed live on stage.

Giuseppe Verdi is one of the Kings of opera. He has influenced other composers while still having a style all of his own. One of his crowning jewels is Aida.

There is a running joke concerning this opera and I was keen to see if this joke would be fulfilled: if the opera is Aida, will there be elephants? Alas, in the Palace Opera & Ballet film version of Aida, the elephants were absent, but it didn’t matter. The production by Teatro alla Scala is magnificent!

Any serious opera goer will know the story of Aida. But for those not fortunate enough to have experienced this masterpiece before…

In the Egypt of the Pharaohs there is war with Ethiopia. The Ethiopian King’s daughter, Aida, has been captured and is now a slave in the service of the Pharaoh’s daughter, Amneris. Radames loves Aida but is loved by Amneris. He is appointed general of the Egyptian army and returns in triumph, to be rewarded by the unwelcome hand of marriage to Amneris.

Aida’s father, Amonasro, has been taken prisoner, his life spared at the intercession of Radames. He convinces his daughter to help him discover the plans of the Egyptian army, which she does in a meeting with Radames, their conversation overheard by Amonasro. Aida and Amonasro take flight but the apparent treachery of Radames is now revealed and he is condemned to death, to the dismay of Amneris. He is immured in a stone tomb, where he is joined by Aida. As they die, Amneris, above the tomb, prays for peace for her beloved Radames.

Verdi relies on mass effect to realise many of his finales and I was not disappointed. The finale of Act 2 was a virtual wall of sound, the principals and chorus soaring to amazing heights. Special mention should be made to Kristin Lewis (Aida), Fabio Sartori (Radames) and Anita Rachvelishvili (Amneris). Their roles are a firm foundation on which the rest of the opera is grounded.

Lewis’ vocal range was rich in every register, ranging from a strong chest voice to head voice that can reach the heights almost in a whisper. As an added plus she is also an accomplished opera actor who elicits sympathy with the audience. A highlight of the opera was the duet with her father and subsequent aria in Act 3.

Sartori is the epitome of Italian tenors. Commanding and heroic, yet still vulnerable when needed. He was the master of his instrument. My only slight criticism was his size. Tenors who are full figured struggle to make their relationships with their slighter female counterparts believable but his Act 1 aria “Celeste Aida” was moving.

Rachvelishvili has an amazing control of her voice, particularly in her role as an anti-hero. She was powerful enough to tower above the other voices when needed, yet emotionally exposed when alone. Her aria in Act 4, when Radames was about to be sentenced, demands vocal mastery which she more than provided.

Add to the aforementioned cast members a competent minor principal cast, a well-rehearsed chorus, beautifully designed modern set and costumes, a magnificent orchestra and you have an extremely satisfying production. I was particularly impressed by Zubin Mehta who conducted the whole piece without using a score!

There were only 6 people in the cinema for today’s showing, disappointing for such a triumphant opera!

Reviewed by Barry Hill
Twitter: @kinesguy

Rating out of 10:  10

Aida will screen again on 21 & 24 August 2016 as part of the Palace Opera & Ballet cinema season, presenting The Royal Opera House, La Scala and Opéra national de Paris – exclusive to the Palace Nova Eastend cinemas.

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