Aida

Aida– a tragic opera originally set in the Old Kingdom of Egypt but on this occasion we were transported to a ‘dystopian world, merging the grandeur of Ancient Egypt with the shadows of a contemporary pseudo Cold War’.  The setting in the Trinity Church lent itself to the juxtaposition of Egyptian and Christian ideas and on this occasion the creation of a new cult ‘The Lotus’.  The symbolism becoming obvious having read the programme.

Using the Trinity Church gave the director some easy and some difficult decisions in equal measure.  The scenery was negligible and consisted of some light panels with the lotus motif which changed colour according to the scene – simple but effective and created the right ambiance.  The use of the choir stalls for the opening of act 3 was most successful. 

The orchestral tone was superb – such a beautiful sound created by 14 players so well directed by Lewis Gasston who has a true understanding of the orchestra in the opera context. The soloists obviously appreciated the acoustics of the building and sang out with enthusiasm.  The ensemble produced well-balanced quality singing which was very impressive especially when they were divided on either side of the church – a very brave move.

For this, her first production with Guildford Opera the young, but highly experienced director, Valeria Perboni transported the audience to another world.  Simplicity being the key but the audience were suitably amazed by the whole concept that she had woven within this beautiful venue.  The whole ensemble of principals created  a very well balanced cast each performing in character with poise and clarity.

Aida played by Lauren Scully had tremendous vocal control both lyrical and strong with tender tones especially in her solo “Oh dearest country never to see my home”.  The very experienced Matt Connolly very capably held the role of Radames both in terms of singing and acting.  His interaction with Henry Saywell playing the part of Ramphis was both well directed and the pair of them created a melodic rapport that was a pleasure to hear.  Henry has very good stage presence and a voice to match.  Amneris – despite having lost her voice Gemma Morsley put a great deal into the dramatic aspects of her role and was a very believably jealous of Aida.  Her singing voice was very ably covered by Felicity Buckland who had adeptly stepped in at 24 hour’s notice.  Guiseppi Pellingra as the King of Egypt had a very powerful dramatic presence and clear vocal delivery.  He was such a dominant character every time he appeared as befits his role as King of Egypt.  Amonasro (King of Ethiopia) – father of Aida, was played by the very experienced Simon Wilson.  He brought tenderness as a father to the role together with a firm manner as befits a King.

The High Priestess played by Lily Morton was a pleasure to behold.  She established the role with her stage presence and her singing was a delight and spine tingling.  The priests played by Dave Chapman, Richard Gun-Cunninghame and Will O’Brien made a good team and supported their fellow principals extremely well.  Their vocal tones blending well and definitely enhancing the superb quality of the complete principal line up.  The Triumphal march certainly resounded around the venue emphasising the wonderful use of brass by Verdi.

The whole evening was breathtaking – the production was powerful and yet tender when required.  Congratulations to everyone involved in this performance of Aida.

Kay Rowan – South East Regional Councillor     

 

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