Review: Power-voiced princesses highlight San Diego Opera’s season-opening ‘Aida’

Symphony and choir share the stage with costumed singers in unique production of Verdi’s classic opera

Oct. 20, 2019 3:22 PM PT

San Diego Opera opened its 55th season in epic fashion Saturday with an “Aida” production that stands out in my memory as one of its best sung stagings of the Giuseppe Verdi classic in decades.

In outstanding company debuts, American soprano Michelle Bradley and Russian mezzo-soprano Olesya Petrova were thrilling as the two princesses competing for the same man’s love in the fateful love triangle set in ancient Egypt.

Petrova’s supersized voice raged with piercing power as the jealous Pharaoh’s daughter Amneris. And the velvety-voiced Bradley, as the Ethiopian princess Aida, stunned with her ability to glide seamlessly between the grandest golden notes and the most delicate pianissimo ones.

Their singing enriched a production that’s unique in San Diego Opera history. It’s the company’s first opera production done in a theatricalized concert style, meaning the San Diego Symphony — led ably by conductor Joseph Colaneri in a spirited company debut — is onstage with the costumed principal singers, rather than in the pit.

The pared-down staging has some flaws and overlong static moments, but it also spotlights the talents of the international cast, who prove their big voices have enough drama to make up for it.

Bradley’s voice shimmers with elegance and beauty in the heartbreaking third-act aria “O Patria Mia.” And just minutes later, Petrova fiercely boomerangs between anger and despair in the dramatic fourth-act aria “L’abborrita rivale.” Tenor Carl Tanner, as the man both women love, Radames, also shines in his highly burnished aria “Celeste Aida.” Watching the symphony perform, particularly the brass players during the second act, is a rare operatic treat.

First performed in 1871, “Aida” is set in a time of war. After defeating Ethiopia in battle, the Egyptian pharaoh offers the hand of his daughter, Amneris, to his victorious general Radames, but he’s secretly in love with Aida, who is Amneris’s captured slave.

Since 1966, San Diego Opera has presented “Aida” nine times. In the past, the grand productions have usually included enormous sets and a stage filled with dozens of costumed chorus members and non-singing “extras” milling about as parading soldiers, chained slaves and temple priests.

This production uses some monumental scenery by Michael Yeargan and evocative lighting by Chris Rynne, but there are no soldiers or slaves and no triumphal march. The production has just seven costumed principal singers and a soloist from the San Diego Opera Chorus, whose members are seen briefly onstage in black attire behind the orchestra.

Thanks to the presence of 55 orchestra players and voluminous, eye-popping costumes by Zandra Rhodes, the stage is always filled with pomp and color. But the lack of movement during the triumphal march makes for dull watching, and a few references in the libretto to the presence of prisoners is awkward. Finally, in the opera’s final moments, it’s nearly impossible to hear the touching closing lines sung by Amneris, who is drowned out by her unfortunate stage placement behind the orchestra and a voice-dimming scrim.

Tanner has a gentle stage presence as Radames and is an ear-pleasing vocal match for Bradley. Bass Simon Kim had a stately vocal presence as the high priest Ramfis. And there also fine performances by bass Mikhail Svetlov as the Egyptian king; baritone Nelson Martinez as Aida’s father, Amonasro; soprano Tasha Koontz as the high priestess soloist; and tenor Bernardo Bermudez as the messenger.

Thanks to the enduring popularity of “Aida” and the A-list singers to pull it off, San Diego Opera has proven that, with a few tweaks, a hybrid staged/concert production can work quite well in the Civic Theatre. “Aida” runs just over three hours, with intermission.