* Notes *
A revival of Aida opened earlier this month at the Metropolitan Opera, and the Opera Tattler attended last Saturday's matinée at a score desk. The orchestra sounded tastefully restrained under Daniele Gatti, but not without emotion. The tempi and the dynamic nuances were unmistakable, and the playing was fairly clean and rarely overwhelmed the singers. The chorus was very much in unison, synchronized with each other and the orchestra.
Stefan Kocán sounded both creaky and shaky as Il Re, whereas Carlo Guelfi (Amonasro) was much more authoritative and commanding. Johan Botha's hefty voice is not particularly sweet, and his attempts at dolce and dolcissimo were not exactly on the mark. As Radamès, Botha was able to make distinctions in the dynamics, yet be heard. Dolora Zajick (Amneris) was cold, especially at first, but her "L'aborrita rivale a me sfuggia" was incredible. In the title role, Violeta Urmana had a range of expression in her voice, she could sound completely insane or absolutely delicate. The chorus and the three leads came together beautifully for "Immenso Ftha" at the very end.
* Tattling *
The seating on the sides of the Family Circle confused more than one person, and I was asked more than once if I was in a given person's seat. I tried my best to explain that I was at a score desk, and that it was unlikely that he or she would want to sit where the stage could not be seen anyway. There was a minor altercation between a young lady and an elderly one, it seems that people can be quite cantankerous about the seating.
There was lots and lot of applause at the beginning of the Triumphal March, perhaps because of the horses used in this production. One is tempted to see The Met: Live in HD broadcast of Aida this Saturday.