Giuseppi VERDI: AIDA
Libretto in Italian by Antonio Ghislanzoni
Opera in four acts
First Performance: Cairo, Egypt Christmas Eve 1871
Teatro alla Scala, Milan, 1985
Lorin Maazel, Conductor
Maria Chiara, Luciano Pavarotti et al
Metropolitan Opera, New York City, 1989
James Levine, Conductor
April Millo, Placido Domingo et al
When I spotted a DVD copy of the 1985 La Scala production of Aida in Zuhai, I bought it immediately, as my Quiapo copy of the Met production didn’t have English sub-titles! I had to rely on the synopsis to get myself immersed in the story. Something is lost, however if you fail to follow the lyrics, such as the poetry and the dramatic intent, as well the performers’ interpretation and characterization. So now I get to compare the two.
About the opera: Aida is no doubt among the grandest masterworks ever composed for the operatic stage. The concept alone is huge, set in the time of the Pharaohs’ Egypt- it requires massive sets replicating tombs and pyramids. The two opera houses’ productions were equally impressive, it was obvious they spared no expense to mount this work.
In the famous Triumphal March in Act 1 (the music we are so familiar during graduation day), La Scala staged a procession to dwarf all processions: looted treasures, heroic statuary, miserable captives struggling under the lash of whip-bearing slave drivers. The Met however went an extra mile, employing hundreds of extras which included a troop of ballet dancers, a couple of horse-drawn wagons (with real horses!) and soldiers in full-battle gear. It was a huge spectacle, even on DVD.
Also, La Scala used the first ballet music scene to accomodate pranks by kids who brusquely interrupt the languor and peacefulness of Amneris' bath in Act 1 (the women were shown bathing topless!), and later to accompany some heavy labouring by slaves in the triumphal scene. The Met chose to stage ballet numbers instead. The La Scala production was obviously the one to beat until the Met upstaged it four years later. But I think La Scala’s was more appropriate.
Verdi composed Aida as a commission from the Khedive of Egypt, who wanted to create a huge spectacular entertainment to coincide with the opening of a new opera house and more importantly, the opening of the Suez Canal. He achieved this to perfection, proving to be a huge international success.
The libretto: It is about two lovers belonging to different sides of the fence. Aida, an Ethiopian slave to the Pharaoh’s daughter Amneris, and the Egyptian military chief, Radames, falls in love. Radames, however, conquered Aida’s country and held as prisoner its King, Amonasro, who is also Aida’s father. Unfortunately, Amneris, is also in love with Radames and the Pharaoh intends to marry her off to him.
When Amneris learned of her slave’s affections for Radames, she threatened her and so Aida decided to tell Radames to channel our Romeo’s affections towards Amneris instead, which he refuses, of course. Sensing a dead-end, both decided to abscond, but their plans were overheard by Amonasro, and a while later, by Amneris. Aida and her father escaped, leaving Radames behind to face the wrath of the Egyptians.
Radames was condemned to be entombed alive by the priests, despite pleadings from Amneris. Aida, however, sneaked into the tomb to join her beloved in death. Ok.
What’s great about this opera is the striking balance between vast spectacle and intimate moments. Amid the ballets and grand marches, and despite having characters that may be pseudo-historical and far removed from ordinary life, the story remains very much human: the gamut of emotions and the conflict it generates are dramatized in full force. It is after all, a tragic story of love, jealousy, and horrible revenge.
The music, of course is glorious. It has so many beautiful melodies which have always provided a formidable challenge to the world’s most eminent opera singers. It is however, an opera for heavier voices, meant for those who have spent some time singing on the stage and not for lighter voices and new comers.
The performance: Maria Chiara (La Scala) and April Millo (Met) displayed similar characterizations. They even look alike, and even their gestures, which bordered on the annoyingly dramatic, mimic each other. Both are dramatic sopranos with heavy, round and almost metallic voices equipped to handle Verdi’s difficult vocal demands, which requires full-throated, dramatic singing that runs from the whisper-like pianissimo to the full-volume stratospheric top notes.
Millo, however, was more successful in showing the contrast in styles present in the big arias Ritorno Vincitor (Return as Conqueror) and O Patria Mia, especially the heavenly pianissimo part which was so delicate and masterfully controlled, it was like a search light in the dark.
Although Domingo can outlast Pavarotti in heavier roles like Verdi’s Otello and Giordano’s Andrea Chenier, Pavarotti fared very well compared to Domingo here. The opening big aria Celeste Aida (Heavenly Aida) with its frightening high C is clearly a difficult one to sing, but Pavarotti, who is at the height of his career, managed to hold on to the high note a wee bit longer than Domingo. I really wondered how he managed to hold his breath that long. It was even better than his San Francisco performance.
Understandably, the audience went wild. Pavarotti’s heavy frame, however, was so evident sometimes it can be distracting. It didn’t help that in one of his outfits, his armor looked like fish scales, which made him look like a giant gold fish with a tiara.
The two Amnerises did equally well, both mezzo-sopranos, they held their own and managed to steal some of the spotlight themselves.Whereas Dimitrova’s (La Scala) was so intense, possessive but maternal, Zajick’s (Met) was luscious, spoiled and feminine. That’s the thing with Verdi. Even the support roles require really accomplished singers, he gives them great but no less difficult music to sing.
As for the chorus, I felt La Scala was better, but New York held on to the orchestra due in part to the enthusiastic conducting by Levine.
Verdict: Although New York spent a fortune on the production, I think both productions did equally well, all in all.
Both productions are highly recommended.