Monday, July 17, 2000
Graves dazzles sold-out opera crowd
By Janelle Gelfand
The Cincinnati Enquirer
When Denyce Graves takes on an operatic role, she owns it. The American mezzo-soprano, who is widely hailed as the definitive Carmen and Delila, added Amneris to her repertoire in Cincinnati Opera's Aida on Friday. It came as no surprise that Ms. Graves' gorgeously rich, honeyed voice, powerful acting ability and natural beauty would result in a triumph.
But most compelling was how completely she inhabited the role. She commanded the stage from the moment she appeared, projecting an Amneris who was both seductive and determined, an Egyptian princess who exuded her regal station and showed human emotion.
The fact that her Amneris seemed to have a bit of Carmen's sensuality made her characterization all the more riveting, and brought out the tension in the love triangle between the princess, the Egyptian hero, Radames, and the Ethiopian slave, Aida. Hers was such a breathtaking portrayal, no doubt some in the sold-out house of 3,346 wouldn't have minded if Amneris had gotten her man in the end.
She poured body and soul into her great scene in Act IV, torn between love and jealousy. Her singing was impassioned and nuanced in “Chi ti salva, sciagurato” (Now you lost the last defender), then desperate as she begged the priests for his life.
It was the opera's anticipated high point. But Ms. Graves' performance was matched by an equally stunning portrayal of Aida by Hasmik Papian. The Armenian-born soprano was the find of the season, projecting an impeccable, seamless and creamy voice and bringing depth of emotion to her character.
Her “Ritorna vincitor!” sung alone in a spotlight, was dramatic and emotional, ending with stunning high notes in an intense prayer. Ms. Papian's range and control were superb. “O patria mia” (Beloved Ethiopia) was exquisitely sung and full of pathos. The Act II duet with Ms. Graves, where Amneris attempts to trap Aida into admitting her love for Radames, was a gripping tour de force, as Amneris grew increasingly more cruel, and Aida more anguished.
If only Gabriel Sade (Radames) matched the intensity of his leading ladies. The tenor's voice was firm and heroic as he punched out his phrases, but his portrayal was colorless. The intonation problems in “Celeste Aida” may have been the fault of the orchestra, conducted by Edoardo Muller. The orchestra's playing was uneven, with ensemble problems between stage and pit, and no sign of the refinement heard in Thursday's Pelleas et Melisande.
Baritone Donnie Ray Albert delivered a distinguished portrayal of Amonasro, at once warm and anguished. His Act III confrontation with Aida was exceptionally acted. As the King of Egypt, bass David Michael projected an authoritative presence, his voice focused, smooth and able to cut through orchestral textures. Ronnie Johansen was an excellent Ramfis. The production, traditionally staged by Mario Corradi was good, though not perfect.
The Act II Triumphal March was a typical Cecil B. DeMille affair, with every inch of Music Hall's stage populated with priests and prisoners. The riders and frisky horses of the Mounted Patrol of the Cincinnati Police Division performed their roles admirably. But the opera almost lost its tenor too early, when Radames made a clumsy dismount as the blanket slid off his horse.
The chorus, prepared by Henri Venanzi, created glorious sounds, particularly in “Gloria all'Egitto.” Adrienne Danrich, whose voice was light and fresh, made a lovely high priestess. The dancers from Cincinnati Ballet deserve special mention for elegant, sensual and athletic contributions, choreographed by Victoria Morgan.
The set was realistic and attractive. Costumes, from the Utah Opera, were luxurious — although long skirts got in the way of Ms. Graves, who once was trapped when Radames stepped on her train.
Aida plays Wednesday and Saturday at Music Hall. (513) 241-2742.
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