A Grand Night For Aida

Opera Maine - The Little Opera Company That Could  just did.  "Did what, you may ask?  Enter into the world of Grand Opera in a way only they could. Over the years, Boheme, Tosca, Butterfly, Carmen, Don Giovanni, Figaro (both of them) Traviata, and everything else . . . even the Dutchman, all fit and felt perfectly suited to the shallow stage of Merrill Auditorium, but how would something considered as grand as Aida fit?  Quite comfortably. And spectacularly, actually.  And to a packed house, as well. Not something you read about a lot these days.

For the 29th production by the company, Director Dona D. Vaughn re-enlisted the service of Mexican set designer  Germán Cárdenas-Alaminos who had given us 2022's splendid  Der fliegende Holländer. A unit set comprised of a pair of platforms flanking a sort of central tiered "altar" with a staircase ascending to a larger platform served perfectly for all of the action scenes ,adapting easily for all seven scenes. A bonus was that each of the side borders of the proscenium, as well as the boarders going all the way back, were decorated with hieroglyphicss, adding to the sense of Egyptology.  

Scene locations achieved by a series of shifting, stunning, vivid 3-D rear projections by Camilla Tassi. Tassi created a sort of 21st century version of old fashioned painted scrims and flats that respected tradition, but also pushed it forward.  Beautifully lit by Jimmy Lawlor, a number of moments stood out spectacularly. My favorite of the night was the Nile Scene, as an Egyptian byblos boat floated up the river in the moonlight. The effect was stunning.  

One can't help jump to the obvious question: What about the Triumphal Scene?  It naturally had to be scaled down when one compares it to La Scala, the Met, Verona, but there's the funny thing: one needn't (and shouldn't) compare it. It's unnecessary. What was achieved was a marvelous synthesis of space, illusion, and the ability to stir excitement both onstage and in the house. The company may not be able to accommodate a cast of thousands, but dozens, they can field, and that was plenty enough to make it work. This was especially evident during the Triumphal March where a new level of endearing operatic kitsch was welcomed, as a giant blue, mechanical wooden elephant strode 'cross the stage bearing a lovely celebrant waving at the crowd. The effect was electric, causing an instant ovation of applause and cheers, proving opera can fun, too!  Of course, none of this would have meant a thing without a deeply satisfying musical presence and on that front, Israel Gursky, in his seventh production as conductor had as firm, authentic a grip on Verdi's score freading of the score as one is likely to encounter today. 

Maestro Gursky shaped the opera in an arc that mirrored perfectly the 360° feeling Verdi gave to this story. Verdi has packed Aida with every kind of emotion and situation in the human panoply: war, love, honor, religion, patriotism, betrayal, pageantry, duty, family, despair all bookended by music of a delicate, gauzy intimacy that transported us into another world: a romanticized ancient Egypt, and what a fun place to spend a few hours.

Opera Maine assembled a cast that I can't imagine being bettered at this point, notably in its three big roles. Courtney Johnson met every musical challenge of the title role with a sense of ease and confidence, while maintaining the character of the anxious Ethiopian princess in a strange land. The voice is, in a word, gorgeous. Bright and warm, with a quick but smooth vibrato it was a thrill to hear this role sung without the unnecessary heft too often heard in Aida performances today. Ritorna vincitor, with its exquisite pianissimo at "numi pieta ..." was ear ravishing and caused the first major ovation of the night. The kind a singer will never forget, nor will its audience.  An even bigger ovation was to follow at the end of O patria mia, with its killer ascent to one of opera's most notoriously difficult and frequently botched High C's. Ms. Johnson nailed the moment in a way I've heard very few sopranos get up and stay there.  In fact, throughout the night this maintained that same level of beauty and power that puts her on a list of young singers to watch out for - and listen to.  I look forward to hearing more from her.

Radames was Taylor Comstock and for beauty of sound he was a perfect match for his Aida. Comstock's big, bright voice easily sailed over the orchestra and chorus, was clear throughout  the ensembles, but also capable of scaling back, which he did to end Celeste Aida. Whereas today most tenors blast the final B flat on "vicino al sol" - Verdi clearly indicates it is to be sung pianissimo with an added "morendo" - or dying off quality. Comstock did precisely that, landing squarely on the note so gently, then softening it even more. My heart may have skipped a beat hearing it as written. 

A perfect foil to Aida and Radames, Hyona Kim's Amneris was incendiary, lighting up every moment she is onstage with fiery passion right up until her too late epiphany at the end. The voice is not large in weight, but is powerful in a way that made everyone sit up and take notice, and with a penetrating volume that could pin you to the back of your seat. As an actor, she combines a sense of of classic old-school operatic style with the abandonment of say, Theda Bara in Salome. This Amneris grasped, clawed, shoved, and threw herself across the floor, climbed up the steps on her belly . . . it was gloriously over the top in a way we just don't get to see anymore. The audience loved every bit of it.  The Judgement Scene gives Amneris a chance to shine in the best possible Verdian way, and with Gursky's support, urging the orchestra through that violently insane music with its exaggerated rhythms and punches, Kim made th is one of the finest highlights in a night filled with them.  Happy news than t hat Ms. Kim is the scheduled cover for Elīna Garanča's Amneris in the Met's upcoming new Aida.  I certainly hope she gets the opportunity for at least one performance. One I'd love to be at. 

Brian Major (Amonasro),  Daniel Sumegi (Ramfis), Matthew Anchel (Pharaoh), Peter Drackley (Messenger) and Alaysha Fox (High Priestess) were all vocally superb and theatrically each at the top of their respective game, turning in performances that contributed to the truest sense of ensemble work Aida must have to be effective. . 

Virgil Bozeman's chorus grounded this Aida throughout the many choral scenes with beauty, energy volume and presence both on and offstage. The chorus contribution - exciting in every scene - cannot be overestimated. They were a joy to watch and listen to.

In her eleventh season, Millie Hiibel designed the seemingly countless costumes required for Aida. From the uniformity of the priest's robes, to Amneris sparkling (almost 1930's style) gowns, Aida's softly flowing pastel robes, to the military costumes and defeated Ethiopians, Hilbel's costumes aided enormously in the telling of this marvelous story.

The strong hand of Ms. Vaughn's clear, balanced direction was felt throughout the evening, propeling the story in a manner that made the time seem to fly by in an instant.  There were no awkward moments or scenes, nor indeed any of the other myriad components that can go wrong in a live performance. Instead, what we partook in last night felt natural, and magical, and . . . all of the things we want in opera. It's the reason we go.   

One would be hard pressed to experience a finer Aida right now.  A point made clear to me as in the weeks leading up to last night, I watched three recent major productions, and truth be told, this was, overall, my favorite both musically and dramatically.  

Opera Main proved yet again that good things really do come in small packages. And now, grand things as well.