Steve Ruark
Baltimore Symphony Orchestra launched an formidable, multi-year survey of Verdi’s operas with a whole efficiency of Aïda, the ultimate live performance of their 2024-25 season. The presentation served as a balm to the Appeal Metropolis, which has been largely starved for music drama since Baltimore Opera Firm ceased operations in 2009.
Led by music director Jonathon Heyward and that includes a powerful solid of worldwide soloists, the efficiency additionally reaffirmed the worth of live performance opera, given merely however with dramatic conviction. Though this system credited a stage director, Marcus Shields, the motion principally unfolded within the conventional style: the singers in live performance gown, positioned in entrance of the orchestra, utilizing gesture and phrasing to move the viewers to Egypt.
It proved a refreshing different to symphony orchestras who currently really feel the necessity to overstage their opera performances. The singers, all practiced of their roles, knew precisely what they wanted to do to get the message throughout. Supported by Heyward and the dedicated enjoying of the musicians, it proved a deeply satisfying expertise of Verdi’s nice geopolitical tragedy.
It stands to motive that in a live performance setting of an opera, the orchestra will at all times emerge because the prima donna. This efficiency didn’t dispel that angle. Regardless of a scant operatic résumé right here within the States, Heyward performed a number of runs in the UK, the place he attended graduate faculty (and purchased a complicated accent alongside the way in which, although he grew up in South Carolina).
Regardless of some awkward layering of the string sections within the Act I prelude, the efficiency unfolded with a well-balanced power, alternating brisk tempos that underlined the lineage of Verdi to verismo and ethereally relaxed passages that allowed the singers to spin luscious, sustained legato strains.
Heyward’s conducting highlighted particular person sections and voices all through the orchestra, with particularly wonderful contributions from the brass all through the Triumphal Scene. In Act III, flutist Martha Lengthy and oboist Katherine Needleman created the suitable moonlit temper for “O patria mia,” earlier than the total forces let free for “Ciel, mio padre!” All through your complete efficiency, principal cellist Dariusz Skoraczewski gave eloquent expression to the anguished feelings of the central characters.
Steve Ruark
With the upcoming retirement of concertmaster Jonathan Carney on the finish of the 2025-26 season, the BSO will see a parade of visitor concertmasters over the course of the subsequent yr. The primary chair for this run was occupied by Jun Iwasaki of the Kansas Metropolis Symphony, whose tone shifted seamlessly from light and rounded to fiery and insistent. I don’t know whether or not he’s a candidate for Carney’s substitute, however the efficiency steered that he deserves severe consideration.
To anchor the opera, the corporate fielded one of many premier Aïdas of the day, Angel Blue. Recent from an prolonged run of the half on the Met, she introduced sturdy theatrical instincts to the position, firmly telegraphing Aïda’s conflicted nature. I appreciated that her Aïda was no wilting flower however a formidable, virtually spiteful rival to the Amneris of Jamie Barton, and that whereas she made clear her love for Limmie Pulliam’s Radamès, she nonetheless burned with equal ardour for Ethiopia’s trigger. Her confrontation with Amonasro of Reginald D. Smith—who acted with conviction however sometimes sounded occluded—was riveting.
Vocally, Blue struck me as a super Act I Aïda, her wealthy, throbbing soprano crusing above the orchestra all through “Ritorna vincitor.” Later within the proceedings, as Aïda’s music turned softer and better, she appeared not fully snug, however the total scope of her efficiency was totally realized. Barton equally sounded most safe at full voice, her mezzo hollowing out and diminishing in energy in additional lyrical passages. Her sword-and-sandal appearing could have lacked subtlety however made for excellent enjoyable.
Previous to the live performance, BSO president Mark Hanson begged indulgence for Pulliam, who was affected by a chilly. Except for a bent to not linger on excessive notes, you’d hardly discover any diminution. Pulliam’s meltingly lyrical tone should be among the many most lovely within the enterprise, and if he was not essentially the most thrilling actor onstage, he compensated with sincerity and tireless stamina.
Mark S. Doss introduced a veteran’s authority to Ramfis, which made up for the overall wooliness of his present vocal property. Matthew Anchel sang the King’s transient musical with an disagreeable gurgling high quality, however Amber Monroe and Jonathan Pierce Rhodes made constructive impressions because the Priestess and Messenger, respectively. Monroe particularly appeared like an Aïda within the making.
In an opera the place the energy of the refrain actually issues, the women and men of The Washington Refrain made a constant constructive impression. The feminine voices particularly introduced an opulent however light tone to their opening music within the second Act.
Your entire endeavor demonstrated a polish I haven’t at all times related to the BSO, an outfit whose steadily thrilling enjoying can usually have a ragged edge. I’ll be first in line for tickets subsequent season when Heyward and firm current Rigoletto with Quinn Kelsey.
