{"id":66766,"date":"2012-11-17T20:36:09","date_gmt":"2012-11-17T19:36:09","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66766"},"modified":"2017-02-09T15:16:58","modified_gmt":"2017-02-09T14:16:58","slug":"aida-where-are-you","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/aida-where-are-you\/","title":{"rendered":"Aida…where are you?"},"content":{"rendered":"

Fondazione Arena di Verona –\u00a0 Stagione Lirica al Teatro Filarmonico 2011\/2012<\/em>
\n“AIDA”<\/strong>
\nOpera in quattro atti, libretto di A. Ghislanzoni
\nMusica di\u00a0Giuseppe Verdi
\n<\/strong>Il Re<\/em>\u00a0 DESARET LIKA*
\nAmneris<\/em>\u00a0ELENA SERRA*
\nAida<\/em>\u00a0 FRANCE DARIZ*
\nRadames<\/em>\u00a0ZVETAN MICHAILOV
\nRamfis<\/em>\u00a0 SEUNG PIL CHOI*
\nAmonasro<\/em>\u00a0DAVIT BABAYANTS*
\nSacerdotessa<\/em>\u00a0CHIARA FRACASSO
\nUn messaggero<\/em>\u00a0ENZO PERONI
\nCoro e Orchestra dell\u2019Arena di Verona
\nDirettore\u00a0Fabio Mastrangelo<\/strong>
\nMaestro del Coro\u00a0Armando Tasso
\n<\/strong>Vincitori del IX Concorso Internazionale di Canto promosso dall\u2019Istituto Internazionale per l\u2019Opera e la Poesia
\nEsecuzione in forma di concerto
\nVerona, 9 novembre 2012<\/em><\/p>\n

It would have been very difficult for a spectator to associate the concert performance of\u00a0 Aida on Friday evening\u00a0 at the Filarmonico with a performance by the world famous company and symbol of Italian opera, the Arena di Verona. What had been heralded a year ago\u00a0 as the grand opening to the centenary celebrations of the first opera, in what was to become the summer festival season, in the Arena, was down-graded to a prize-winners awards performance of a singing competition\u00a0 created specifically for roles in Aida.\u00a0The original planned production(still advertized on theVeneto Region site, and on Carnet Verona, the site of events in Verona ) was to have been staged, produced and directed by the renowned and refined Hugo de Ana. \u00a0None of all this. In a semi-deserted theatre, the evening was decidely low-key: from the bare stage, (not even a flower, an Egyptian decoration, a palm frond!), where the orchestra and chorus acquitted themselves with professionalism,\u00a0 to the awkward stage presence of most of the singers. Aida is a formidable challenge to even experienced singers but deprived of scenery, costumes and acting, it becomes a very arduous task. The two singers who managed to surmount these difficulties more successfully were, the Aida, soprano France Dariz and the King, the bass Desaret Lika.\u00a0 Statuesque and composed, \u00a0a strong and beautiful vocal quality, secure in her technique,\u00a0France Dariz<\/strong>\u00a0allowed her voice to act for her. \u00a0If at first , her low register seemed weak and her diction lacked weight, as the evening progressed her performance strengthened, and her lustrous, unwavering top notes\u00a0 consisently soaring and rounded, were never tired or pushed. \u00a0This was matched by her clean articulation and\u00a0 ability both to diminish and augment the dynamics of high sustained notes, which added pathos and expressivity\u00a0 to her phrasing. \u00a0She was \u00a0generous in the ensembles with ringing, full-bodied top notes often doubled by the chorus. With further experience and a fine-tuning of her vocality, \u00a0the quality of her strong, beautiful \u00a0voice \u00a0and her overall performance can only mature.
\nThe bass,\u00a0Desaret Lika<\/strong>\u00a0sang the role of the king with ease, and his confident stage presence and an even and controlled voice lent dignity and regality to the ensemble. \u00a0The pleasing and cultivated voice of the baritone,\u00a0Davit Babayants<\/strong>, Amonasro, was\u00a0 smooth and mellow, but lacking in the incisiveness and vigour necessary to express the intensity and drama of his role. \u00a0The Ramfis\u00a0 of\u00a0Seung Pil Choi<\/strong>\u00a0was marred by an oscillating vibrato and a tendency to push the voice, perhaps due to nervousness. The mezzo soprano,\u00a0Elena Serra<\/strong>\u00a0as Amneris swept along by the passionate and intense role, bestowed a minimum of dramatization to the evening\u00a0 This was most successful in the declamatory episodes in her lower register.\u00a0 The role was presented with great zeal and involvement but the voice, especially in the centre was often unfocused and uncontrolled with a disturbingly wide and fluctuating vibrato.\u00a0 The tenor\u00a0Zvetan Michailov<\/strong>, not a competitor in the competition, but a singer of wide experience, nonetheless sustained the impervious role with difficulty. His opening\u00a0Celeste Aida<\/em>\u00a0was tight and nervous due to evident apprehension., which was not helped by his manner of pushing the voice rather than sustaining it with his breath. The overall resulting effect was a fitfulness \u00a0lacking in line and phrasing.\u00a0 The two other roles not included in the competition, the priestess, sung off-stage by\u00a0Chiara Fracasso<\/strong>, in a clear, strong voice, \u00a0and the messenger sung by,\u00a0Enzo Peroni<\/strong>\u00a0with a secure and commensurate delivery, were more than decorous.
\nThe experienced conductor,\u00a0\u00a0Fabio Mastrangelo<\/strong>, with an elegant and secure gesture mainly devoted his attention \u00a0to the orchestra with the singers placed behind him. Many were the times when the orchestra and soloists were not together. With the orchestra, chorus and soloists massed together, more contrast could have been produced between the different\u00a0groups to create a spatial dimension musically, necessary to a coherent reading, and to create the atmosphere missing due to the lack of\u00a0 staging but inherent in the music. \u00a0\u00a0The orientalizing melodies of the flutes\u00a0 in the Sacred Dance of the Priestesses at the end of Act 1, for instance(especially given that there was no dance and no priestesses) could have been a highlighted and allowed a more sinuous movement. The sound quality in the grave sections of the strings resulted thin in their solistic moments in the fourth act and could have been reinforced. In this situation the orchestra is called on throughout the opera to fill voids and substitute the staging which is an integral part of the score.. The leaflets distributed by protesting, apparently resigned theatre workers to the audience at the entrance,\u00a0 indicate that the Fondazione Arena di Verona is facing \u00a0difficult and serious times. Photo Ennevi \/ Fondazione Arena<\/em><\/p>\n

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