The Opera Tattler

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SF Opera’s Aida (September/October Cast)

Dolora Zajick as Amneris, photo by Cory Weaver * Notes *
The 88th season of San Francisco Opera opened in gaudy splendor with Aida last night. The ostentatious production, designed by Zandra Rhodes and directed by Jo Davies, did not fail to delight. The backstage noise of moving the sets was audible to the audience, and the flow of the masses of people was not always well-motivated. However, the dancing children in the first scene of Act II, and the gymnasts and cloth elephant in the scene that followed were absolutely wonderful. Nicola Luisotti conducted with passion. The low strings had some beautiful moments, specifically, the cello solo in "Ritorna vincitor," the violas during the ballet, and the basses near the end of the opera. The woodwinds were pretty, and the trumpets sounded clear. There were a few synchronization problems with the orchestra and singers, especially in the ensembles. Unsurprisingly, the chorus held together best when they did not have to move and sing at the same time. Adlers David Lomelí and Leah Crocetto both made fine contributions as the Messenger and Priestess, respectively. Crocetto's creamy yet metallic voice cut through from backstage with an eerie effectiveness.

Christian Van Horn (King of Egypt), Hao Jiang Tian (Ramfis), and Marco Vratogna (Amonasro) all were appropriate for their roles, both in acting and singing. Vratogna was almost beast-like, his voice is sturdy and he certainly seemed dangerous. On the other hand, Micaela Carosi was rather wooden in the title role. Her voice, while warm and resonant in her lower register, is not unlike fingernails on a chalkboard when she pushes too hard for the top notes. Marcello Giordani was infuriating in the same way, his "Celeste Aida" began ravishingly, but the higher, sustained notes, while powerful, lacked beauty. He also showed fatigue during his duet with Aida in Act III, but pulled it together for the very end, which was lovely. Dolora Zajick dominated the second half of the show, her Amneris was incandescent in Act IV.

* Tattling * 
The opening night crowd was ill-behaved. Three young women in ZZ 112-116 would not stop talking, or posting photographs to Facebook on their mobile devices. Three Francophones behind me in standing room also felt it necessary to talk during the first half of the opera, though managed to be silent for the second half. Rather annoyingly enough, my hairdo disrupted Act II Scene 1, somehow I did not secure it properly and a cascade of flowers fell from my head. I could not stop myself from laughing, out of embarrassment, one imagines.

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26 responses to “SF Opera’s Aida (September/October Cast)”

  1. CruzSF Avatar
    CruzSF

    I wonder if there are 3 Facebook pages with photos of your cascading flowers.
    I’m glad to hear that Hao Jiang Tian sang well, as I know almost nothing about him.

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  2. patty Avatar
    patty

    In the Dress Circle, somewhere behind us, some man found the elephant so hysterical he couldn’t stop laughing … VERY loudly. The entire group behind us were rather noisy … pretty annoying. Ah well … opening night!
    Wish I’d seen you … I would have taken a picture for my blog! Rats!

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  3. diego Curutchet Avatar
    diego Curutchet

    it was in itself an spectacle ! …… with some glorious moments and not so fortunate others
    The regie ( or staging as you call it ) was spectacular !!! and the conduction and orchestra performance …spotless
    a great night … ( being an opening that needs to be taken into consideration)
    Glad I had the opp to assist, dont you?

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  4. Hank Avatar
    Hank

    I hate to contrary, but I really did not like the sets or the costumes. Some of the artwork looked as though it had been done by fourth graders.
    The vertical lines of the sets predominated to make the stage look boxy and restricted. Maybe this worked to advantage in the final tomb scene, to give a sense of the characters being buried alive, but for the rest of the show it just looked stupid.
    Costumes were ridiculous. They looked like someone’s idea of a joke.
    The elephant was ridiculous too. It just didn’t work for me (from the orchestra). A clever idea, poorly executed.
    The lighting was alternatively too bright and too dim. I don’t know if I’ve ever seen a more disappointing (visually) Aida.
    As far as singing goes, Vratogna was the only real star.
    I know Zajik can do now wrong in some people’s eyes, but to me she’s always been just a step above competent, and no more.
    Giordani wrecked the Celeste Aida, but I think he gave a decent performance in the ensemble sections. At the very end he held back when reaching the very high notes, and that actually worked, given the musical context. At least he was on pitch (?), as opposed to the high note at the end of Celeste.
    I’ve yet to be excited by Luisotti’s conducting. I was underwhelmed in Fanciulla, and in Aida. Maybe he’s still feeling shy, being the new kid on the block and with DR being a tough act to follow?
    Audience was unruly, but what do you expect? If you are interested in actually hearing an opera, don’t go to opening night of the season.

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  5. Doug Avatar
    Doug

    This production really looks dreadful to me. Oh for some interesting directing and designing at SFO again!

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  6. The Opera Tattler Avatar
    The Opera Tattler

    Perhaps! I hope not though!

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  7. The Opera Tattler Avatar
    The Opera Tattler

    Gosh, people can be so weird. Opening night is always such a zoo, but that’s part of the fun.
    Sad to have missed you!

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  8. The Opera Tattler Avatar
    The Opera Tattler

    It was a spectacle, and I definitely had fun.

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  9. The Opera Tattler Avatar
    The Opera Tattler

    Perhaps you just don’t appreciate the aggressively tacky! I can see how this production is not understated or elegant, so I understand where you are coming from.
    I was surprised how much I liked Zajick, because I heard her sing the same role last year at the Met and found her to be fine but not exciting. Perhaps it is just because the tenor and soprano here just did not shine?
    Luisotti was restrained compared to his Fanciulla, Salome, and Trovatore. Certainly he is quite different from Runnicles!
    I find the unruly audience very amusing, it gives me more to tattle on. 😉

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  10. The Opera Tattler Avatar
    The Opera Tattler

    Maybe you’d like the Werther? It has live video capture in it.

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  11. Hank Avatar
    Hank

    Live Video Capture? What the devil is that? A man-on-the-street interview?
    If I want to watch TV, I can do it a home. I really think it’s time for DG to stop relying so heavily on video.

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  12. The Opera Tattler Avatar
    The Opera Tattler

    I think the idea is we get to see inside Werther’s head? Pretty sure there is a part where Charlotte dances around on one part of the stage, while we see it projected in Werther’s room.
    Doubtless it has to do more with the popularity of directors like Lepage (the Met seems to love this guy) and Kentridge rather than Gockley himself. Don’t mind it if it is well-excuted, but a lot of video can look tawdry or boring.

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  13. Doug Avatar
    Doug

    I’m on the list of people who try to make Lepage, Kentridge, Sellars, and others popular. There — I admitted it.

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  14. The Opera Tattler Avatar
    The Opera Tattler

    Prefer Kentridge to Lepage, but I enjoy them both too. Not sure about Sellars though. I am also not sure about this Werther, but will see soon enough.

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  15. Hank Avatar
    Hank

    Back to AIDA… There’ll be a new cast later on: Michele Capalbo as Aida, Guang Yang as Amneris, Quinn Kelsey as Amonasro and yes… Carlo Ventre as Rad.
    And a new conductor, Giusseppe Finzi
    I’ll be there (although I may try to sit where I can hear well but not have to see those ridiculous costumes): it’s a hard opera to ruin.
    h

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  16. The Opera Tattler Avatar
    The Opera Tattler

    I will attend the second run as well, perhaps with the score.

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  17. Philandra Montagu Avatar
    Philandra Montagu

    Opening night is such a bore. Philandra and her entourage attended the second performance and we are greatly amused by the campy production. But Jo dear, was that your idea to seat The King of Egypt and Amneris in the middle of the stage during the second act ballet? From our seats we glimpsed a few arms waving and an occasional leg, but nary a complete form was to be seen. Larry Pech and Johnnie Lunn must be having hissy fits on a nightly basis. JD, there is no shame in a mid stream correction, and we do hope that you will see to it that the two dears are gently rearranged for the third performance.

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  18. Roberto Avatar
    Roberto

    I just came back from the 9/22 performance.
    Overall, it was very good. This was not exactly a low-budget production, but compared to other Aidas out there, this could very well been seen as a less eccentric Aida. The important is that they solved all the puzzles with creativity and talent and in the end it is a very enjoyable production. I liked the elephant, the dances, the kids (I’ve seen them dancing before at the Discover Museum in Sausalito a few years ago. They are totally amazing) and so on.
    The big surprise for me was Marcello Giordani. He is by far the big star of this Aida. I never cared much about “Celeste Aida”. It is a very hard aria to sing. It goes all over. He nailed it! He completely nailed it. Then, his “Sacerdote, io resto a te” when he surrended himself to the priest was breathtaking. It was really an inspired performance. I don’t know what he did. He may had a good meal in North Beach. I don’t know. But the guy really delivered.
    I wish I could say the same thing about Micaela Carosi. I don’t think she excited anyone. The only quality I saw on her was her pianissimo. She has an amazing pianissimo (which is important for Aida). She suffered on everything else. Her high notes was very scratchy and she didn’t breath very well. San Francisco is polite. They give a warm reception even if the singer doesn’t deserve. However, there was no “bravos” for her “O patria mia”. By the way, she went downhill after that aria.
    Marco Vratogna has the exact problems that he had from last year’s Iago. His voice is not that bad, but he just doesn’t face the public. It is incredible. Zero charisma. He really got on my nerves. It was exactly the same thing on his Iago. He looks sideways or to the floor, never straight. On the father-daughter duet, he gave the back to the audience when Aida was singing about her love, etc… There should be a constitutional amendment that forbids a Verdi baritone to give his back to the audience to express disillusion when the soprano sings her part of the duet (almost every Verdi opera has this duet).
    I don’t think that Dolora Zajick had a good first and second acts. But what matters is the trial scene and she was mesmerizing on that scene.
    Luisotti was great. Sometimes, his tempos were a little to fast for me, but that’s really not relevant. I agree with what has been said here that the balance of orchestra and singers is way better than the recent “Fanciulla”. The string section of the orchestra had quite beautiful sound. I really cannot say anything negative about this orchestra.

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  19. The Opera Tattler Avatar
    The Opera Tattler

    It is very true, opening night may be best avoided.
    I wonder if Jo Davies is still around, or if she will come back for the second cast. She directed this production in Houston as well, and I would be very curious to know what the changes were.

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  20. The Opera Tattler Avatar
    The Opera Tattler

    Sounds like Giordani hit his stride. I’m glad, and will go hear him again later in the run.
    Thanks so much for your comments!

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  21. Hank Avatar
    Hank

    Roberto, you must tell us the name of your time-machine manufacturer!
    (written on 9/17)
    Hank

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  22. Hank Avatar
    Hank

    Last gasp of Aida. I saw the final performance with this first cast last night (10/6).
    The tenor was even worse than he had been the first night. He totally wrecked the Celeste Aida, and at the very end sounded as though he was REALLY dying. He just does not have those high notes.
    Too bad: I actually like this guy’s voice, but if he doesn’t have the high range, maybe he should switch to lyric baritone. He might be a decent Elder Germont, or even Don G.
    Of course that’s assuming he has a decent LOW range.
    The Aida had some weak moments, too. And to give credit where due, Zajick was totally competent from start to finish, which made her stand out.
    Another cast in December. It can’t be worse.
    Can it?
    Hank

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  23. The Opera Tattler Avatar
    The Opera Tattler

    I was there too! Giordani sounded absolutely ragged by the end of “Celeste Aida,” I was scared his voice would crack. Carosi was mostly in tune at least, but it is almost as if she doesn’t understand what she is singing. Of course she must, since she is Italian, but somehow it doesn’t come through her.

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  24. Hank Avatar
    Hank

    I actually liked Carosi in the Mai Piu, but then, unless my ears deceived me (which they certainly might have), at the very end of the following duet with Rad, I could swear that last note started off key (1/4-tone flat?). And she did not adjust it.
    Still, I like her in general. I think sometimes when a production is just so-so, it affects everyone’s performance, especially when it’s the last performance, which this was (for that cast). As though they were thinking, ‘who cares at this point?’.

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  25. The Opera Tattler Avatar
    The Opera Tattler

    Carosi was slightly off pitch, I believe, but compared to how she was in some of the rehearsals, it did not bother me that much. She really scared me at first!
    Agreed, the performance was not on fire. Hope the second run is better!

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  26. Laurie Avatar
    Laurie

    I agree, the bald head caps with the bright blue ziz-zags were laughably cheap and stupid looking. I saw them close up on a backstage tour and the looke even worse in person. I felt like they must have been purchased on clearance from a Halloween shop. This tackiness made me both question the suitability of Luisotti (how much is he responsible for, does anyone know?) and it also made me wonder if the opera is Bankrupt and hence the disgraceful mess it is in. I learned from the backstage tour that they had to let a bunch of the makeup artists go due to lack of funds, and know for the first time ever, performers are asked to apply their own makeup.

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