Expectation for the top soprano that the war in Ukraine has forced to choose sides. As expected, Anna Netrebko, who for a few months has been more Austrian than Russian, has been pure charisma this Tuesday, on the stage of the Royal Theater. And her ovation has been resounding on this return to Spain with the papier-mâché Aida that the Madrid Coliseum has taken out of its closet and dusted off to celebrate the 25th season since its reopening.
With the theater full, Netrebko has spurred on the public with a feline acting and an igneous interpretation that has shone in front of a gray baton, that of Nicola Luisotti. The Russian has swept it away in this, her third opera in Madrid, and has shown that she is still in the elite with a privileged instrument, with her mid-voices and her sparkling high notes – she was the only one that went beyond the orchestra – which she displayed together with her wonderful Yusif Eyvazov as Radamés, a convincing tenor with a fearless vocal despite his unattractive timbre.
The most famous title of Italian opera and its most famous composer, Verdi, was resurrected in this classic production signed by Hugo de Ana and which was premiered at the Real in 1998, already being part of the heritage catalog of the Madrid Coliseum. This is the third time that it has been revived in the form of a self-tribute, a term used by Joan Matabosch, artistic director of the coliseum, in her always stimulating article in the playbill.
Hugo De Ana falls into the clichés of a historicist Aida with slight projected 3-D effects, plus costumes and scenery designed by himself. Ethiopian wigs and dreadlocks for the Egyptians, and makeup that seems to flee from the controversy of blackface. The conservative production of vintage aesthetics will supremely bore lovers of imaginative and innovative productions.
As regards the baton of Luisotti, associate director of the Real, it dams up the opera in an oratorial halo tending towards boredom. Languid and heavy tempos of an effective Madrid Symphony Orchestra that ultimately pave the way for the indisputable triumph of the voices.
In this cast –Real has a triple stellar cast to star in the 20 performances it has scheduled– the debut as Amonasro of the solid Polish baritone Artur Ruciński stands out. Amneris by Ketevan Kemoklidze is elegant and sensual, together with the strong vocals of Ramfis by bass Jongmin Park. Dejan Vatchkov was a King with a quivering voice and elusive high pitches. The level of the choir looked properly, although not so much the strange choreography ballet, signed by Leda Lojodice.
