English National Opera
Director: Jo Davies
Conductor: Gerard Korsten
Reviewer: Jeffrey Mayhew
In many ways a logical starting point for a considered review by a member of the public is whether, putting aside personal taste and minor caveats, the production in question is to be recommended – whether it is worth the money and effort to go and see. In the case of ENO’s Aida there is no doubt that it is. If you like your opera grand, in a certain way, and can run with the slight unease with the content that changing times and fashions bring then you are in for a good night out. There is absolutely no doubt at all that this production makes for 
fabulous radio. Rarely have I heard such a brilliant matched set of singers – it takes the stamina of the vicar in the village hall to painstakingly note the contribution of each and every performer. Nevertheless (and despite our indulgence being craved for coughs and colds – clearly the British cold is losing its virulence!) Claire Rutter has to be celebrated as a ravishing Aida with a beautiful voice used with subtlety and intelligence. John Hudson as Radames was sung with power and assurance giving a highly satisfying pairing. There are many joys still to come, though. Matthew Best as the high priest, Ramfis, was truly superb – an “old fashioned” singer with tones reminiscent of Kipnes. His Hans Sachs will be worth a trip to see. Jane Dutton combined power with grace and subtlety as Amneris and Iain Paterson displayed a warm, flexible bass-baritone as Amonasro, Aida’s father. The run also marks Gwynne Howell’s 40th Anniversary with ENO though his Pharaoh showed no signs of wear and tear – another vocal treat. Add in superb chorus work and ravishing sounds from the pit (Gérard Korsten) and it can easily be seen why the whole thing makes for a highly satisfying musical experience.
It all worked pretty well on stage too. Lots of colour, a very clever elephant substitute, wonderful dancers and breathtaking tumblers. It did seem, however, that some of the design elements were better on paper than when realised – especially the costumes, which whilst s
triking and sort of Egyptian, sometimes seemed not to do the people inside them much in the way of favours. The setting, too, was not always helpful in what is, after all, very much a three or four hander with occasional casts of hundreds. The apologia in the programme intellectually addresses the issues of colonialism, post-colonialism, the concept of “exotic” and worthily so on and so forth but ironically the stage picture did not seem to follow these reflections through. Particularly bizarre was the treatment of the Ethiopians who looked liked something to be “manfully” resisted by someone from a 1920s Boy’s Own Annual – perhaps an irony? I hope so. There were times, then, when the still, small voice asked what it was all really about – and there is still enough in the story (family and country loyalty, love and betrayal) to make it meaningful – and what we were all really there for. But then the lights change, the set moves, the singers sing and the band plays and it’s all lovely.
fabulous radio. Rarely have I heard such a brilliant matched set of singers – it takes the stamina of the vicar in the village hall to painstakingly note the contribution of each and every performer. Nevertheless (and despite our indulgence being craved for coughs and colds – clearly the British cold is losing its virulence!) Claire Rutter has to be celebrated as a ravishing Aida with a beautiful voice used with subtlety and intelligence. John Hudson as Radames was sung with power and assurance giving a highly satisfying pairing. There are many joys still to come, though. Matthew Best as the high priest, Ramfis, was truly superb – an “old fashioned” singer with tones reminiscent of Kipnes. His Hans Sachs will be worth a trip to see. Jane Dutton combined power with grace and subtlety as Amneris and Iain Paterson displayed a warm, flexible bass-baritone as Amonasro, Aida’s father. The run also marks Gwynne Howell’s 40th Anniversary with ENO though his Pharaoh showed no signs of wear and tear – another vocal treat. Add in superb chorus work and ravishing sounds from the pit (Gérard Korsten) and it can easily be seen why the whole thing makes for a highly satisfying musical experience.It all worked pretty well on stage too. Lots of colour, a very clever elephant substitute, wonderful dancers and breathtaking tumblers. It did seem, however, that some of the design elements were better on paper than when realised – especially the costumes, which whilst s
triking and sort of Egyptian, sometimes seemed not to do the people inside them much in the way of favours. The setting, too, was not always helpful in what is, after all, very much a three or four hander with occasional casts of hundreds. The apologia in the programme intellectually addresses the issues of colonialism, post-colonialism, the concept of “exotic” and worthily so on and so forth but ironically the stage picture did not seem to follow these reflections through. Particularly bizarre was the treatment of the Ethiopians who looked liked something to be “manfully” resisted by someone from a 1920s Boy’s Own Annual – perhaps an irony? I hope so. There were times, then, when the still, small voice asked what it was all really about – and there is still enough in the story (family and country loyalty, love and betrayal) to make it meaningful – and what we were all really there for. But then the lights change, the set moves, the singers sing and the band plays and it’s all lovely.Photos by Alastair Muir
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