Date: Tue, 15 Nov 2005 09:54:04
-0500
This review was printed in The
Italian Voice and in OPERA-L , an internet website
GATEWAY CLASSICAL MUSIC SOCIETY
PRESENTS VERDI'S "AIDA"
A Review by Nino Pantano
The magnificent dome and
statuary of St. Francis Xavier Church on West 16th Street served
as the setting for ancient Egypt for this special performance of
Aida. It was a joint effort of the Gateway Classical Music
Society and the St. Francis Xavier Mission whose outreach
includes food and lodging for the homeless and adult education
programs among other humanitarian endeavors. This fusing of
Verdi and philanthropy is not an odd coupling. The great
composer and his wife Giuseppina, according to Verdi biographer
Mary Jane Phillips Matz, contributed greatly to children’s
hospitals and other charities. Verdi s greatest
masterpiece, the composer felt, was the Casa Di Riposo for aged
and indigent singers and musicians where he and Giuseppina are
buried and which still exists today. It is in this spirit of
helping humanity that conductor Ida Angland and her Gateway
Classical Music Society came to New York from Greenwich,
Connecticut where their inaugural Aida and Carmen met with
acclaim. There was a large diverse audience that cheered and
appreciated this performance.
The evening of Thursday,
October 20 was a true merging of “Embracing Humanity through
Music and Deed” which serves as a theme of The Gateway Classical
Music Society. Giuseppe Verdi would have been proud not only for
the humanitarian aspect but especially for the quality of the
performance.
In the title role, Rosa
D’Imperio was one of the best Aida’s in memory. Her lovely
soprano could soar thrillingly and float exquisitely and her
artistic temperament was right on the mark. “Ritorna Vincitor”
was indicative of the high quality of her art and her “O patria
Mia” had some exquisite pianissimi. In the various duets and
ensembles she proved herself an artist supreme. Hers is a career
to watch.
As Aida’s love and Amneris’
fiancée, Eduardo Calcano used his tenor with intelligence and
discretion. Calcano’s musicality allowed him to conquer the
hurdles of Radames with comparative ease. Calcano’s instrument
is a more lyric than dramatic but like Carlo Bergonzi, he knows
how to sing. His “Celeste Aida” was well done and he was
especially forceful in the act three “Nel Fiero anelito di nuove
Guerra.” In the final act “O terra Addio,” Calcano and D’Imperio
proved a golden age blend.
Many think the true title
should be Amneris rather than Aida because of the great dramatic
role of Amneris who opens up a literal Pandora’s Box with her
jealous rivalry with Aida the enemy slave daughter of the rival
king Amonasro.
Elizabeth Blake was a superb
Amneris her rich mezzo plumbing the depths and soaring the
heights that this dramatic role requires. From her confrontation
scenes with Aida and Radames, her voice and emotion were
riveting and her Act 4 “A tu de Vivere” had the audience in a
frenzy. There is no “break” in her register and her mezzo
madness was negotiated smoothly from top to bottom. To hear such
an Aida D’Imperio and an Amneris (Blake) is to hear and see
operatic rivalry at its best.
In the part of Amonasro the
king of Ethiopia and father of Aida Metropolitan Opera’s Richard
Hobson gave a thrilling dynamic performance in a role very
congenial to his rich soaring beautiful baritone. Hobson’s
leading the slaves in ensemble “Ma tu re fu Signore Possente”
evoked memories of the great American baritone Leonard Warren.
Hobson’s angry rage at Aida’s refusal to betray Radames in the
third act’s “Nel fiero Anelito di nova Guerra” was bone chilling
in its fury and vocal deportment.
In the role of Ramfis the high
priest Stephan Kirchgraber evoked memories of the golden age
basso Ezio Pinza who was the great Ramfis at the Metropolitan
Opera. In the great temple of Vulcan scene with Radames, his
rich sonorous basso was a perfect match for Radames (Calcano)
Kirchgraber has an imposing physical presence to match and his
voice also excites in its upper reaches.
The king of Egypt was well
served by the majestic bass baritone of Stephen Fredricks whose
dark baritone gave special impact to this regal and authoritive
part.
Krista Wozniak’s shimmering
soprano added just the right touch as the High Priestess making
one want to hear more and Hamid Rodriguez displayed a fine tenor
with a heroic edge in his brief part as the messenger.
The Gateway chorus was
absolutely superb and fresh voiced. They negotiated the soaring
passages with aplomb and the softer passage s with loveliness.
Much of the music in Aida is a foretaste to Verdi’s mighty
Requiem to come three years later.
And last is best. Ida Angland,
the conductor, has sound musical instincts. Without hesitation,
she goes out in the storm and triumphs. There is a gamble in
risking such a mighty undertaking as Aida and bringing it to the
people. Ms Anglund is a glamorous presence, but more importantly
she has idealism and grit which she takes with her to the
podium. This was an Aida conducted in the spirit of her mentor
The New York Grand Opera’s Maestro Vincent LaSelva, but also the
spirits of Toscanini, Stokowski, Sarah Caldwell, Bruno Walter
and all the legendary pioneers and conductors. Ms. Angland has
great flair but her perfect control was also an inspiration.
From the opening bars to the soaring passages of The Grand
March, (always a show stopper) to the silence of the tomb
finale, the superb Gateway Orchestra and Chorus sang as one
breath. The audience heard nuances and colors in the score that
were a revelation. Even veteran opera goers saw this Aida in a
new light. This was an unforgettable experience and we all
welcome this new and amazing company to New York City. The
audience responded with a standing ovation and many bravos. The
music, I believe, is somewhere absorbed in the statues of the
saints and the dome of the church and in the hearts and minds of
all who were privileged and blessed to attend.
Nino Pantano
Brooklyn, NY 11231
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