Review by Keola Kinghorn, Front Row Reviewers
Giuseppe Verdi’s Aida has returned to the Ellen Eccles Theatre at the Utah Festival of Opera and Musical Theatre (UFOMT), and it is a thrilling experience you do not want to miss. Verdi was commissioned by Cairo‘s Khedivial Opera House to write the opera and it had its première there on 24 December 1871. Despite the fact that Verdi wrote the opera over 150 years ago from an Italian libretto written by Antonio Ghislanzoni, Verdi’s music gave the libretto the perfect drama that has stood the test of time and it is still one of the most performed operas in the world. In fact, according to UFOMT Founder and General Director Michael Ballam, Aida is part of the ABC Operas: Aida, La Boheme, and Carmen. Within the first 15 minutes of Aida, it was apparent to me why this opera is as popular as it is: the vocals are ever-so challenging, the storyline and orchestration are dramatic.
Aida tells the story of Radamès (Victor Starsky), an Egyptian soldier who is in love with Aida (Carami Hilaire), a slave and handmaiden to Princess Amneris (Audrey Babcock). Radamès, the captain of the Ethiopian army, has just returned from invading Egypt and captured Amonasro (Thomas Cannon). Aida, seeing her father has been captured, realizes she must choose between her devotion to her father and her love for Radamès. With Amneris and Radamès set to be married, the stage is set for a spectacular dramatic climax and a very dramatic love triangle. Who will Aida choose? Will a wedding commence? And to whom?
Hilaire’s range as Aida is impressive. Her low notes are rich and her high notes soar. Costume Designer Erin Carignan and Wig and Makeup Designer Willem Hinternshoff really outdid themselves with Hilaire’s flowing blue outfit and red wig–Hilarie as Aida is striking. Hilarie is especially effective expressing heartache when she is tasked with choosing between two impossible choices–her lover or her country. Watching Aida’s heart-wrenching despair when her father blames her for the agony and war of their people is extremely moving. I equally enjoyed the passion-filled moments between Aida and Radamés.
Starsky is the perfect Radamés, the heroic tenor and love interest of both Aida and Amneris. I was immediately struck by Starsky’s clear tenor, and wonderfully even vibrato in scene one as he sings about his love for Aida. With his gorgeous vocals, manly costume (designed by Carignan) that exposed his chiseled muscles and long wavy dark locks, it’s no wonder Aida and Amneris fall madly in love with Starsky’s Radamés. There are so many scenes between Starsky and Hilaire that are filled with longing and passion; their acting and vocals are outstanding, but it is toward the third and fourth act that I found myself especially impressed by their duets and Hilaire’s high notes. One would think their voices would have been fatigued, but they continue to deliver with power and incredible precision.
Babcock as the Egyptian princess Amneris is strong and assertive and this soprano has a voice and a presence that cannot be denied. When Amneris is dressed in a slim linen white tunic, golden collar, and blue beaded headdress Babcock shimmers—she is absolutely stunning. Brandon Coleman as the high priest Ramfis presents low bass notes and vibrato that are as powerful as his demeanor and his presence is striking. Thomas Cannon made an impression as Amonasro, when he was rolled onto stage in a caged jail cell. His scene with Aida is moving when he demands her to never see Radamès again.
Maestro Nicolas Giusti performs all four acts of opera while standing (roughly 3 hours and 15 minutes), according to Percussionist Samuel Bryson. Screens of Giusti conducting are angled toward the performers onstage so they can see him, and Giusti’s head peaks out of the pit ever so slightly so that he can follow the talented singers with ease. Bryson says, “We’re fortunate to have such wonderful conductors at UFOMT. Giusti brings passion and authenticity to every performance. It is wonderful to play an opera by an Italian composer under the direction of an Italian conductor.” Set design by Patrick Larsen is stunning with large staircases, a blue moon, and Egyptian statues and palm trees. Lighting Designer John Mitchell brings the set to life with pinks and blues on the palm trees and blue moon in Act three. UFOMT’s Aida, directed and choreographed by John De los Santos, delivers aesthetically and acoustically.
UFOMT is performing Verdi’s Aida alongside Elton John’s adaptation of the opera this summer. Both productions are wonderfully done and should be seen while you have a chance to see them side by side performed by professional actors and a live orchestra. After seeing both Aidas, I feel my knowledge of this tragic love triangle has deepened and my respect for its story increased. Verdi’s opera will provide a more historically true account of Egypt’s history, but Elton John’s will draw in younger audiences, those who are from diverse demographics. Ballam said his goal in bringing both here this summer was to get opera snobs to cross over into the musical theatre realm and likewise to get musical theatre junkies to try out opera. His reasoning is sound. Because I have been able to review both versions, this reviewer suggests you see both.
The Utah Festival Opera & Musical Theatre presents Aida, by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzon.
Ellen Eccles Theatre, 43 South Main Street, Logan, 84321
July 26*, August 5, 2023, matinee 1:00 PM, July 29 7:30 PM
Tickets: $23-$89.
Contact: 435-750-0300, opera@ufomt.org
Aida Opera promotional video
Photos by Waldron Creative.
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