Verdi’s “Aida,” the grandest of grand operas, should provide a spectacular evening. The Los Angeles Opera production at the Dorothy Chandler Pavilion boasts a full complement of priests and soldiers as well as two life-size plastic elephants, a huge “wooden” head of the Egyptian god, Ptah, colorful stanchions and more extras than you can shake a spear at. Despite all the pomp, however, a sense of excitement is missing from this popular opera with Verdi’s marvelous music.
The problem starts at the very beginning with Radames, portrayed by Franco Farina, standing alone before a floor-to-ceiling black screen to sing of his love in the famous aria, “Celeste Aida.” This dark mood pervades the production in scene after scene. The sun fails to shine in Egypt, even during the victory scene when the hero returns from battle with the conquered Ethiopians.
The acting was mostly silent movie style. Michele Crider has made Aida her signature role and she has a powerful, pliant voice. However, she is a large woman, in the great soprano tradition, and is not required to do much moving around. This adds to the general torpor. Farina, well known internationally, has a fine range but fails to provide passion. In their final love duet, Aida and Radames fail to connect as they sing apart from each other for much of the time.
Making up for any lack of histrionics by the leads is Irina Mishura as the frustrated princess, Amneris. She sings with an overabundance of the kind of emotion that should propel the opera. Lado Ataneli, the bass-baritone, is impressive as Aida’s father, Amonasro. He has a fine voice and, happily, brings spark to his role.
The cast includes Arutjun Kotchinian as Ramfis, Reinhard Hagen as the king of Egypt, Joohee Choi as a priestess and Peter Nathan Foltz as a messenger. The solo dancers, all excellent, were Susan Gladstone, Shell Bauman and Rocklin Thompson.
The highlight of the evening was the choreography by Peggy Hickey. The women, in flowing dresses, move with grace and style. The men are terrific in a beautifully executed battle scene.
Vera Lucia Calabria serves as the director but, in spite of some nice touches, fails to provide the movement needed. The staging by Pier Luigi Pizzi would improve with an airier look. He is much more successful as the designer of the costumes, which are colorful and sumptuous. Let the sunshine in.