05.02.2020
Aida: vivid, stylish, stylistically precise, and atmospheric
Aida will be returning to the Mikhailovsky Theatre stage on 11 and 13 February and 6 March. The reviews and critics’ appraisals that appeared after the première of the theatre’s first ever production of Verdi’s masterpiece in November are testimony to its resounding creative success.
Ekaterina Kretova, the music correspondent at Moskovsky Komsomolets, was full of praise for the work of musical director and conductor Alexander Vedernikov, who “chose a very lofty and intelligent interpretation of the score”. The orchestra played “perceptively, with restrained passion, falling prey to none of the temptations which abound in Verdi’s music. This won the audience over from the very first bars of the overture,” writes Kretova. “And the surprise sprung by Vedernikov during the celebrated march in Act 2 was a real stroke of musical genius: genuine Egyptian trumpets came on stage and played the famous theme brilliantly.” Maria Babalova of Novaya Gazeta agreed with her colleague, also noting “the orchestral sound: stylistically precise and emotive, varied in its nuances”.
According to Olga Rusanova, the music correspondent for Radio Rossii, the Mikhailovsky Theatre’s Aida is “an atmospheric production which undoubtedly makes a real impact. I left the première with the sense that the conductor had put his heart and soul into it and had worked painstakingly with the musicians, singers, director, and designer.” The radio station’s programme Music in Events also emphasized the vital role played by musical director Alexander Vedernikov in making Aida a success, and described the staging of the opera as “vivid and stylish”.
In a review published in Sankt-Peterburgskie Vedomosti, music critic Vladimir Dudin noted the particular “sensitivity to the musical structure” demonstrated by set designer Marius Nekrošius. “Of note in this new production are the unhurriedness of the action, the accentuated ritual character of the costumes, the capricious flickering of black and gold,” remarked the reviewer, adding that “the designer’s concept for the new Aida became even more evident after the opera, when we were able to go backstage and see the costumes of Amneris and Aida up close.” He also paid tribute to the outstanding work of costume designer Nadezhda Gultyaeva.
Ekaterina Kretova, the music correspondent at Moskovsky Komsomolets, was full of praise for the work of musical director and conductor Alexander Vedernikov, who “chose a very lofty and intelligent interpretation of the score”. The orchestra played “perceptively, with restrained passion, falling prey to none of the temptations which abound in Verdi’s music. This won the audience over from the very first bars of the overture,” writes Kretova. “And the surprise sprung by Vedernikov during the celebrated march in Act 2 was a real stroke of musical genius: genuine Egyptian trumpets came on stage and played the famous theme brilliantly.” Maria Babalova of Novaya Gazeta agreed with her colleague, also noting “the orchestral sound: stylistically precise and emotive, varied in its nuances”.
According to Olga Rusanova, the music correspondent for Radio Rossii, the Mikhailovsky Theatre’s Aida is “an atmospheric production which undoubtedly makes a real impact. I left the première with the sense that the conductor had put his heart and soul into it and had worked painstakingly with the musicians, singers, director, and designer.” The radio station’s programme Music in Events also emphasized the vital role played by musical director Alexander Vedernikov in making Aida a success, and described the staging of the opera as “vivid and stylish”.
In a review published in Sankt-Peterburgskie Vedomosti, music critic Vladimir Dudin noted the particular “sensitivity to the musical structure” demonstrated by set designer Marius Nekrošius. “Of note in this new production are the unhurriedness of the action, the accentuated ritual character of the costumes, the capricious flickering of black and gold,” remarked the reviewer, adding that “the designer’s concept for the new Aida became even more evident after the opera, when we were able to go backstage and see the costumes of Amneris and Aida up close.” He also paid tribute to the outstanding work of costume designer Nadezhda Gultyaeva.
