Aida at Gärtnerplatztheater Munich

© Christian Zach

Sung drama - What a singing, what a drama in this impressive realisation of one of the most reknown operas by Verdi. The love story of the Ethopian slave at the Egyptian court was put into modern times and ambience. We encounter Aida veiled in a black shadora, Radames is a modern Arabian soldier. The Egyptian court is a colourless simplified environment, its members dressed in modern suits, women in typical islamic kind of coat-dresses and white trousers. The stage remains empty filled with a clever light design marking the frozen unpersonal social life. We experience that before every war triumph there is a brutal battle, which is symbolized in the famous triumph march. There is no glorification of the hero but we get thrilled by his mastering of the cruelity of war.
The director of this new production is Torsten Fischer. He comes from the drama and makes this Aida a lively drama on stage. The cast has to act, there are many little details in the moving, gestures and faces. We participate in the various very intimate moments of the heroes. In the end, this opera is dominated by those and not as usual by the massive scenes which made it so famous.

For the musical realisation, the ensemble of Munich's second opera house, the Gärtnerplatztheater, was enlarged with young international soloists. The Korean soprano See Kyung Rim tries to tame her enormous voice in the role of Aida. Gaston Rivero shines as Radames. His tenor voice has a warm full sound. In his dark colour, he convinces in his desperate conflict of love and political responsability. Francesco Landolfi as Amonasro is seeking for revenge and victory above fatherly love for his daughter Aida. Monica Bohinec gives Amneris a lot of  dramatic expression. Her voice is dry and metallic poisonous.
The Venetian Marco Comin seems to like the intimate musical moments and brings partially the orchestra to a fine fragile playing, whereas he comes back with heavy forte and fortissimo, giving strong contrasts throughout the evening. The audience follows the drama-like interpretation and thanks the cast, his director and his team heartily.

Helmut Pitsch