Radvanovsky really brought out the character, not only through her singing, but also through her acting which sometimes can compromise a production. She was both emotional, full of life and confidant in her range. With Aida, it was a complete different mind set. The production by Sonja Frisell has been well received by audience since 1988- its elaborate set up, vast stage design and spectacular dancing/in-show entertainment have created a gorgeous, mind blowing moment in opera lover's experience.
(The current singers: Ramis- Stefan Kocan Radames-Roberto Algna Amneris-Olga Borodin Aida-Liudmyla Mondastyrska The King-Miklos Sebestyen) are a perfect fit (I use "perfect"lightly here because there were moments of discomfort in range). But the two women, the two seemingly opposing women, both are daughters of a king. Yet they are so different, whether in their political or personal position, or their shared admiration for Radames, all blend perfectly -- the jealousy, the fear, the pity and the final acceptance. When Amneris cries to Radames, begs him to marry her, to not only be able to escape death but he will "have her crown, her land and her kingdom", only to be rejected outright by Radames. In the final scene, Ramis and Aida face their doomed fate, Ameris prays for Radamess soul, the trio was heart wrenching. I think it was the final act that really is the reason why people are so captivated by opera. Opera certainly is a form of entertainment, but its charm is beyond just "beautiful singing and spectacular stage design", if you take your time to listen and absorb it, its literary context can be surprisingly rich. I look forward to "La Rodine" in the NEW YEAR :)
Marty Sohl © 2012 The Metropolitan Opera.
Ramis- Stefan Kocan
Radames-Roberto Algna
Amneris-Olga Borodina
Aida-Liudmyla Mondastyrska
The King-Miklos Sebestyen
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