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Director
Jo Davies
Designer
Zandra Rhodes
Conductor
Edward Gardner
Aida
Clare Rutter
Amneris
Jane Dutton
Radames
John Hudson
Amonasro
Iain Paterson
Ramfis
Brindley
Sherratt
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London
Coliseum
English
National Opera
Nov
8 - Dec 7 2007 |
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In the
Coliseum's foyer, an enthusiastic
crowd of fashionistas, students
and confirmed bachelors mingled
with ordinary punters and
awaited the opening night
of Zandra Rhodes' Aida
at the Coliseum with baited
breath. Finally the legend
herself appeared for a photo-call
to celebrate her much anticipated
costume and set designs for
the ENO. Fluoro-pink hair
ablaze, she dazzled in an
inimitable, kooky way: her
trade-mark image unchanged
by the passing of thirty odd
years of evanescent trends.
A collective sigh arose from
her motley crew of fans -
word was that the aesthetics
for Verdi's Egyptian classic
were a tour-de-force. Luckily
for the company, the rumours
were to be confirmed. Much
of the night was a dazzling
rendering of Verdi's opera;
triummphantly ending a run
of bad luck as recent offerings
have failed to curry favour
in press or public opinion.
Later, as the last notes died
(muffled by a well-deserved
ovation) the sentiment amongst
many old-timers - knowing
that as a fashion force, Rhodes'
heyday has long gone - was
that she should give up the
proverbial day-job, for the
stage. As costumier and set
designer she came into her
flamboyant own, discovering
a fresh new metier with this
Aida.
Her research into Egyptian
iconograpy had obviously been
painstaking, for this was
no cod-rendering of the land
of the pyramids.This scribe
fervently hopes that she takes
up the challenge again - if
a suitably luscious work presents
itself in the U.K.
So what, we thought, if the
production's clothes (seemingly
utterly individual in some
scenes and gloriously co-ordinated
in others) had obviously swallowed
the lion's share of the budget?
A few sets - for all their
exotic, wall-paper hieroglypics
- had a faintly cardboard
cut-out air to them which
disappointed. Neverthless,
the overall impression of
pomp, circumstance and dynastic
oppulence was a smart recreation
of this cult work.
Cecil B de Mille himself would
have wondered at Rhodes' sinister
priests - from the outset
garbed in fluted gold lame,
later donning stunning, Horus-beaked
cowls over feathered robes;
shaven heads, decorated in
painted swirls recalling the
cinematic anti-hero of The
Mummy.
Swirling dream-coats of mango,
amethyst and holy cerulean
were favoured by the regal
roles, accessorised with cascading
dread-locked plaits and pharonic
jewellery. A column of Anubis-masked
soldiers patrolled tumblers,
and raffia-clad slaves in
the famous, pivotal chorus
scene. Exposed, their Ethiopian
king Amonasro, was a riot
of colonial colour: Wurzal
Gummadge by way of Papua New
Guinea! Attending her clandestine
tryst with Radames, beside
a desolate, obsidian (and
decidedly flat) Nile, a darkly
veiled Aida could have been
courting Valentino in The
Sheikh.
To one's relief, two-dimensional
sets gave way to some spectacle:
witness a luscent temple scene
of great beauty, illuminated
by flickering tea-lights.
Amneris' atmospheric boudoir
featured a portico inspired
by Nut, the sky goddess (referenced
from an extant work); cocteau-esque
caryatids atop naif pilasters
and a brief cabaret of enchanting
Indian dancers. The opera's
piece-de-resistance was Radames'
triumphal home-coming aboard
a sensational Potempkin-pachyderm
constructed of billowing,
gilded azure silks, complete
with giant tusks - a feast
of smoke, mirrors and exemplary
budgeting. A stage fit to
burst with denizens reminiscent
of Oz, made sweet music as
uplifting voices transported
this ticker-tape victory parade
before our glad eyes.
Which brings us at last to
the score on this eventful
evening. I am happy to report
that the outstanding performance
was, fittingly, Claire Rutter.
Her poignant Aida thrilled
powerfully to the eves, particularly
soaring in the upper register.
Iain Paterson's paterfamilia
Amonasro ably partnered her
in exchanges of filial intensity,
but unfortunately, the accomplished
Rutter showed up Amneris (Jane
Dutton)'s weaker range. The
latter's fine acting almost
made up for the discrepancy
- a failing her enthusiastic
inamorato Radames (John Hudson)
shared in some respects. Brindley
Sherratt's paced and passionate
portrayal of the glowering
High Priest Ramfis was better
pitched and suitably intimidating.
However, casting aside, the
real star of this Aida
was arguably Zandra Rhodes
and the night belonged to
her.
Caroline Kellett Fraysse |
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