Festival Opera's 'Aida' and 'Manon' are stellar
No elephants cross the stage in the Utah Festival Opera's production of "Aida." You don't miss them at all. Rather than the spectacle that it has become, this production celebrates the Verdi's original intent as a "chamber opera."
It wasn't until UFO director Michael Ballam saw the production on a 14-foot stage in Italy, that he realized you don't need the spectacle, you need the passion. He's to be commended for that foresight, which has resulted in an exceptional treat.
Ultimately, "Aida" is a story of human emotion — jealousy, revenge, regret, and above all, love — set to a glorious score.
The same can be said for Puccini's "Manon Lescaut," the other opera UFO is presenting this season, which is imbued with similar human sentiment — as well as the willingness to die for undying love — done to music that can stir the soul as well.
• "Aida," one of Verdi's best-known and best-loved operas, tells the story of an Ethiopian slave, Aida, serving the Pharaoh's daughter, Amneris. They both are in love with Radames, commander of the Egyptian army. But Radames loves only Aida. That love leads him to unwittingly betray his country, but rather than renounce his love and marry Amneris, he chooses to die as a traitor.
Lisa van der Ploeg, from Denmark, is equally adept as Amneris, who starts off haughty and proud but ends up despairing decisions she has made. The scene where she comes to grips with her choices has a powerful impact.
Arthur Shen also brings depth of emotion, as well as a gorgeous tenor voice, to the role of Radames. His opening aria, where he proclaims his love of Aida to the gods, leaves no doubt of his feeling. And the scene at the end, where he finds that his love has crept into his tomb to share his fate, is gripping. It's not surprising that this is one of the most potent scenes in all of opera.
The voices of the three principals blend beautifully on duets, and since the score gives them one aria after another, there's a lot of gorgeous singing going on.
Michael Corvino is also strong in the role of Amonasro, Aida's father. Bojan Knezevic, as Ramfis; and David Ward, as the Egyptian king, do exceptional jobs, as well.
As good as the featured artists are, they are well matched by the ensemble; the early scene in the Temple of Vulcan is a favorite. The dancers add interest. Staging and lighting add a great deal to the overall impact. And the orchestra, under the baton of Karen Keltner (returning for her 12th consecutive UFO season) is eminently equal to the task of bringing to life Verdi's score. The famed processional march is indeed resounding. Who needs elephants?
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