Aïda

Elephants not Required

Aïda

by Guiseppe Verdi, libretto by Antonio Ghislanzoni

Kentish Opera at The Stag, Sevenoaks until 20^th April

Review by Patrick Shorrock

Verdi’s opera is a hugely demanding piece that makes exorbitant demands on any opera company,  with its frequent scene changes, dance interludes,  and costumes, even if, these days, there is a feeling that elephants are not actually required.  It also ruthlessly exposes any vocal limitations in the cast – especially the title role – in a way that makes you question whether Verdi has provided something of a musical obstacle course rather than a beautiful musical line.   However, Verdi gives his roles music that is at the limit of what singers can manage as a metaphor for people who are being put through the emotional mill and are facing the limits of what human beings can endure.  That means that beautifully sung Verdi is an all too rare phenomenon and one that can endanger the credibility of the drama. 

So it is something to celebrate that Kentish Opera were able to put on Aïda at all in a cinema in Sevenoaks, even if it is equipped with an orchestra pit and rather noisy curtains.  As if that wasn’t challenge enough, their Radames (Roberto Abate) had succumbed to a chest infection, although he still mimed the part while Jonathan Cooke saved the show from the side of the stage, getting better after a somewhat hoarse start. 

It was, to be honest, a rather old fashioned production, with sets (Harry Stevenson, and Debi Austin) and costumes (Carol Stevenson and Susanna Elvy) that were reminiscent of a Ladybird Book representation of Ancient Egypt.  It is curious how nothing dates so fast as a depiction of the distant past, which can’t help revealing as much about its own time, as well as that of the time it purports to represent.  That said, there was good use of photographs (including a pyramid against a blue sky and an elaborately painted temple interior) and the costumes were lavish.  This production certainly helped me understand why opera houses tend these days to avoid an ancient Egyptian setting, preferring something set in the era of composition or, as at the Royal Opera House at present, a Korean dictatorship!

Here in Sevenoaks,  the spirit of Carry on Cleo was never far away, as extras fanned Amneris (Felicity Buckland) with white feathers on sticks, while she lounged on a chaise-longue and  channelled Princess Margaret in a bad mood,  remaining resolutely undiverted by the moppets dancing for her pleasure (unlike their adoring parents in the audience).  It all looked rather like a bunch of white people at a costume party having the time of their lives.  Convincing as Ancient Egypt it was not. 

The chorus sang most impressively and the second act finale had real conviction with Verdi’s priests sounding rather more malevolent than they looked.  Even if the orchestra sounded rather like they were on well remastered 78s, they were always together – testament to the fact that everyone was extremely well rehearsed by Musical Director Robyn Sevastos.  Aïda ideally needs a more powerful and sweeter voice than Katherine Blumenthal’s and Lexie Wisniewska (High Priestess) was the best of the singers, although in the least demanding role.

Patrick Shorrock, April 2024

Photography courtesy of Kentish Opera