I reviewed the new production of Aida in January, and would not have revisited it were it not for its new cast members. Three exceptional singers compelled me to write a few words and encourage everyone to see them.
Elina Garanca made a triumphant return to the Metropolitan Opera as Amneris. Her luscious instrument has grown in the last years and in the lower part of her voice, she has acquired a resonant, rich darkness that suits the role perfectly, while her upper register has maintained its youthful freshness and vibrancy. From the moment she sang her first phrase in the initial trio with Radamès and Aida, it was clear that we were in for a treat of a performance that would erase any unsatisfying memories of recent Amnerises. Garanca made the Egyptian princess very human in her desperate love for Radamès, her jealousy, her fury, and her pleading, managing to elicit compassion for the character. In her duet with Aida, she dominated the stage through the utter beauty and power of her instrument, and flawless legato. In the confrontation with the high priests, Garanca sang like a force of nature, sustaining those torrents of sounds with both passion and attention to detail. Majestic in demeanor and totally thrilling vocally, she regaled us with an unforgettable Amneris and demonstrated what it means to sing this role with all the qualities and mastery it requires.
Elina Garanca as Amneris and Brian Jagde as Radamès in Aida at the Metropolitan Opera
As Radamès, Brian Jagde proved once again why he is one of the most exciting singers performing on the world’s operatic stages today. In an abundance of glorious sound that brings one back to the “Golden Era” of singing, Jagde created a character who was both heroic and tender. He is one of those few tenors who makes “Celeste Aida” sound natural and unforced in a blend of dreamy charm and splendid vocal substance. In the Nile scene duet with Aida, he brought forth different colors in his voice to great effect in reflecting the inner struggle of the hero between loyalty to his country and love for Aida. His guilt at betraying his country resounded with earth-shattering emotion in “Io son disonorato.” The confrontation with Amneris unfolded like a riveting, electrifying duel between Jagde’s and Garanca’s extraordinary voices and sense of drama, while in “O terra addio,” Jagde’s voice flowed like liquid gold turning breathtakingly ethereal at the end.
Amartuvshin Enkhbat brought a noble, generous, warm sound to Amonasro, infusing the role with power as well as grace. His is a true Verdian baritone voice, and it was a treat to hear him live; every phrase he sang left a stirring impact. Even in his harshest moments in the duet with Aida, his tones were so intrinsically appealing that it made one wish Amonasro’s role were longer.
There are two performances left—May 5 and 9. Don’t miss the rare chance to hear these three brilliant singers! For them, I would sit through this production of Aida again and again, even without the Nile in the Nile scene.
Photos: Ken Howard / Met Opera
Top: Elina Garanca as Amneris in Aida at the Metropolitan Opera
