Aida
Operatic Triumph Sees of Sceptics
It was the little and large show – a small company pulling off a massively ambitious production with principals including artists who are at the opposite ends of the scales – weight-wise not musically.
There must have been sceptics who although accepting Stanley Opera were capable of greater things than their restricted repertoire allows wondered if they had overstretched themselves in choosing such a vast work. Not the case.
Whether it was to see them fall flat on their face in reaching so high or just a rare chance to see Verdi’s masterpiece, here receiving its Hinckley premiere, the as near sell-out as far as I could see first night audiences was probably as large as the total of some runs in the past.
They were rewarded with a masterful performance that will enhance the reputation of the company and the town theatre but Stanley have set themselves some mighty benchmark now – after all how do you top Aida? It will be interesting to see.
The choice of production not only attracted new patrons but also magnetised some fresh faces plus the return of a favourite tenor.
Vincenzo Sozzo last appeared with Stanley Opera as Alfred in Die Fledermaus in 1994 but here made a memorable Radames, the heroic captain of the Egyptian guard, evidenced by one of the loudest applause of the night at the curtain call.
Radames is loved by both Amneris, sister of the Ethiopian king, and Aida, an Ethiopian prisoner who is now her slave. and this is where one aspect of the little and large show comes in.
Louise Clarke in the title role comes to opera from a background as diverse as costume drama, pantomime, musicals and playing the oboe but called a different tune here, using the other half of her studies at the RCM, voice, to capture a woman torn between patriotic and personal love.
Against Janet Cunnew’s Amneris – the type of figure it is said, unkindly in this case, the show ain’t over until she sings – Clarke looked a slip of a thing but each in their own vocal way, punched her weight brilliantly.
Cunnew seemed at home in this mezzo role and used her good range to fine effect but then this is probably to be expected from an Eisteddford first prize winner who is rapidly establishing herself with Hinckley audiences.
There was great applause for home town favourite Derek Huddlestone, who we learn from the programme was a late convert to opera but once again proved as Amonasro, the king of Ethiopia and Aida’s father, that though there may be snow on the roof – he only needed a hooded red coat to be Santa – the fire burns below.
Vic Jinks stamped his authority on the production as Ramfis, the high priest, Chris Marlow was quietly impressive as the king of Egypt while Debbie Bates (priestess) and Edward Murray (messenger) made the most of their roles.
Splendid sets, great direction by Nick Bacon, whose CV shows no previous experience of opera, fine choreography by Pat Barker and musical direction by Janet Ward this was a night to remember with one or two surprises like the brass ensemble, a well known piece that not everyone would realise came from this show.
Mitch Irving, April 10 2003, Hinckley Times
