Verdi's AIDA in Busseto – Review by William Fratti- signed by Franco Zeffirelli, taken from Stefano Trespidi, directed by Maestro Michelangelo Mazza –
Designed in 2001 on the occasion of the Verdian centenary, strongly desired by the then general manager of the Arturo Toscanini Foundation, Gianni Baratta, when still Busseto and Parma were unable to dialogue, when the Verdi Festival still – because it was so called – It was unable to take off, indeed was born from his ashes to end up burning again, this aida signed by Franco Zeffirelli aroused clamor and amazement such as to be requested by so many other theaters to create the milestone of the hundred performances already in 2003.
The extraordinary show of the Florentine director and scenographer is taken here by Stefano Trespidi who, presumably making use of resources lower than the needs, puts on stage over a dozen less people, between choir and figures, showing voids than the original, as well as the gestures and the looks of the protagonists are far from that initial miracle fortunately registered and documented in a DVD. Raitrade and TDK and in a beautiful photographic book by Gianfranco Lelj. The same goes for the scenes, which over the years have faded – especially the seabed with the pyramid – And they would need a retouching, or better lighting. Fiammetta Baldisserri makes the mortal jumps with the lighting resources at his disposal, but it is not enough to repeat the suggestive magic of the blue and gold that should have accompanied the triumph towards the tragic final intimacy. Even the exceptional and highly valuable costumes of Anna years, taken here by Lorena Marin, over the years have slowly lost part of their precious elements, especially those of Aida who, sincerely, seem to have been purchased on the market in Piazza Ghiaia. Zeffirelli had been clear: Aida is not any slave, but a servant of the royal princess.
Nonetheless, it is a beautiful show and the merit of having allowed this desired return to the Regio Teatro in Parma. As well as the Parmigiana institution is applauded to have reported the small theater of Busseto to be the launch stage of many young people albeit, on this occasion, not all the interpreters were adequately prepared. The school of Carlo Bergonzi of twenty years ago showed a level that would be hoped for also having still.
In singing terms, the flagship is represented by the Bumjoo Lee Radames which, despite a serious defect of pronunciation of the hiss, stands in acute with brightness and good support, remaining firm and enamelled even downwards.
More than satisfactory, Andrea Borghini's Amonasro, brilliant and with good emphasis, even if a little weak in the medium serious area.
The same goes for Dongho Kim's Ramfis, whose dark voice is missing from the thickness necessary for the imposing role of the priest.
Also adequate, only slightly uncertain, the king of Renzo Ran.
Aida is Natalie Aroyan, equipped with a very important voice with a beautiful color, but poor in technique. The Australian soprano has excellent means, but needs to review the emission, which is sometimes veiled, forced thalaltra, soon exhausting its energies; perfect the use of winds, failing to keep long notes or to issue a plan; Finally improve the elegance with which you should be on stage.
Similar speech for Daria Chernii in the role of an Amneris little end both in the interpretation and in the rather opaque vocality and in difficulty in the acute.
Chiara Mogini's priestess shows some intonation problems, while Manuel Rodriguez's messenger does not hear in the low notes.
Finally, the direction of Michelangelo Mazza, always very homogeneous and balanced, is excellent, good in the Verdian accent, as well as in the refined plain plans. It is not always at its height is the orchestra of the Teatro Comunale of Bologna which, although excellent for most of the execution, is a bit’ In difficulty with the trumpets during the triumph and with the arches at the end of the work. Good chorus test, better vocally than scenically, led by Alberto Malazzi.
The choreography of Luc Bouy are always very effective, the dancers are very good.
William Fratti
PHOTOS © Roberto Ricci