An Aida that strips away the Egyptian iconography

Par Pia Maltri, 25 novembre 2018

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“we are forced to focus on the universal human drama”

Critique faite à Bord Gáis Energy Theatre, Dublin, le 24 novembre 2018

Verdi, Aida (Aïda)

Irish National Opera

Fergus Sheil, Direction

Michael Barker-Caven, Mise en scène

Joe Vanek, Décors, Costumes

Orla Boylan, Aïda

Imelda Drumm, Amneris

Gwyn Hughes Jones, Radamès

Ivan Inverardi, Amonasro

Graeme Danby, le roi d'Égypte

Manfred Hemm, Ramphis

Rachel Goode, la grande prêtresse

Conor Breen, un messager

Irish National Opera Chorus

Aaron Kelly, Vidéaste

Paul Keogan, Lumières

Irish National Opera’s new Rusalka intrigues more than it convinces

Andrew Larkin, 22nd March

Netia Jones’ modern reimagining intrigues more than it convinces, but still makes a strong case for Dvořák’s dark fairy tale.

***11

Irish National Opera’s Bartered Bride shines

Andrew Larkin, 22nd November

A tiny stage and five musicians prove no obstacle to Irish National Opera’s lively, witty Bartered Bride, where sharp casting and clever direction turn modest means into genuine delight.

****1

A rollicking Wild West Elisir in Dublin that hits all the right notes

Andrew Larkin, 27th May

Donizetti heads West in Cal McCrystal's riotous, laugh-out-loud L'elisir d’amore, where dazzling singing meets cowboy capers in a gloriously zany production for Irish National Opera.

*****

Charting new waters: Flying Dutchman brings Wagner back to Ireland

Andrew Larkin, 23rd March

Ireland’s first Wagner opera in over a decade dazzles with a captivating production by Rachael Hewer for Irish National Opera.

****1

Terrifically strong principals in Irish National Opera’s Rigoletto

Andrew Larkin, 1st December

Michael Chioldi, Soraya Mafi and Bekhzod Davronov shine in Julien Chavez’ energetic production in Dublin’s Bord Gais Theatre.

****1

Strong voices shine amidst Fuchs' superficially garish Traviata

Andrew Larkin, 21st May

Strong vocals from the three principal singers and a sure musical direction from young conductor Farrell help offset some of the less than convincing elements to Olivia Fuchs' production.

***11

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Pia Maltri

Pia first fell head over heels for opera when she was a teenager by listening to recordings of some of the great voices of the past: Maria Callas, Giuseppe Di Stefano, Mirella Freni, Alfredo Kraus. She holds a degree in Italian Literature and she lives in Rome.

In Dublin, an Aida that successfully strips away the Egyptian iconography