Aida

This sumptuous production is even stronger on its second outing in Sydney in less than four years.

It was created when Opera companies across Australia pooled resources to stage a new production of Aida with fresh choreography from Graeme Murphy.
The set was simple and clever. At the back of the stage are projected images, often along the theme of a pyramid. It was ideal for the love triangle at the centre of this story.

At the front was a length of water to represent the Nile. Just behind it, two tracks running horizontally across the stage allowed for a procession in the grand sections of Opera – free of Elephants but rich with symbols.

Often the stage movement was portrayed in the style of hieroglyphics. While it was perhaps a little too literal at times, there were many beautiful moments. In one scene striking lovers dived semi-naked in and out of the water.

The costumes looked gold carrot plated and the light also sparkled, particularly in a clever scene portraying sand filling a glass.

This time around there was also a consistency of excellence amongst the singers.

Rosario La Spina played Calaf in Opera Australia’s Turandot earlier this year without quite climbing the operatic mountain. However as Radames the Egyptian general in Aida he never failed to hit the mark. It was a relaxed performance with poise and confidence.

Aida, played by American soprano Latonia Moore, had that uncommon quality of both looking perfect for the part and singing just as beautifully. It was a soaring performance.

Other principals formed a strong ensemble with Warwick Fyfe most commanding as Amonasro – Aida’s father, the King of Ethiopia.

While some of the full cast scenes drifted slightly away from the orchestra and the fourth act did stretch a little on the long side (which Mr Verdi was responsible for) it came close to being a faultless night at the opera.

David Spicer

Images: Milijana Nikolic as Amneris and Latonia Moore as Aida & Dancers. Photographer: Branco Gaica.