Opera continues to thrive on the radio, and recordings amply prove that, of all the artistic disciplines used to bring lyrical drama to the stage, it is the music that is most important in opera. doing.
Indeed, the term “grand opera,” typified by Verdi’s “Aida,” which the Tulsa Opera staged at the Tulsa PAC on February 25, is a vision of elaborate sets, opulent costumes, and a multitude of performers on stage. reminds me of A very simple story of love and jealousy, betrayal and revenge.
“Aida” is set in ancient Egypt and is a luxurious production that unfolds against the backdrop of the Warring States period. Over the past few years, Tulsa his operas have filled the Chapman Music Hall stage with large amounts of sand, neon pyramids, a life-size reproduction of the Sphinx, and even a parade of livestock and exotic animals during the “Triumphal March.” covered with in the second act of the opera.
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This year, the company has chosen to announce the production of a concert that evokes costumed key figures, carefully arranged set pieces and a series of clever video projections, or more precisely, the semi-staged “Aida.” settings, and the orchestra and chorus on stage.
It helped that the Tulsa Opera assembled a talented cast led by Michelle Bradley as Aida, who spent the last two months in the title role at New York’s Metropolitan Opera. From the moment she opened her mouth it was clear that this was truly a Bradley show, she had an unmistakable power to cut through highly complex ensembles with clear clarity and shimmering tones. has a richly colored soprano voice.
Equally impressive was Michelle de Young as Amneris, Aida’s love rival. This is perhaps the opera’s most complex character, and De Young’s performance brought out many facets of Amneris clearly — a lonely tone as she laments her unrequited love for Radames, Aida’s future happiness. A smooth transition from silky to savage as she toyed with hope, her desperation to save her beloved from his cruel fate.
Rimmy Pulliam as Radames did well, but his performance of “Celeste, Aida” was first spoiled by the ill-fated gravel tone at the beginning, and the opening lines struggled with their sound. But when you needed strong singing and a high-pitched ringing note, Pulliam delivered it.
Morris Robinson, becoming a Tulsa Opera regular, was Ramfis, the outstanding high priest, and Todd Thomas, star of the Tulsa Opera’s baseball-themed “Rigoletto,” brought passion and fire to the role of Amonasro, King of Ethiopia. rice field. Michael Coleman was imposing as the king of Egypt.
Francesco Milioto leads the Tulsa Opera Orchestra, which appears to have a wide range of dynamics and textures, from whisper-soft, crystal-clear passages to rafter-rattling forceful moments, and on-stage placement. appeared to benefit greatly from
Dani Kail served as stage manager. Matt Morton’s set design was lit by Andre Garvis, who also designed the projections. Lyndon Meyer prepared a chorus that included singers from the Tulsa Opera Chorus and the Tulsa Opera Signature Chorale.