Aida, Royal Opera House

This is a largely accurate representation of the performance. Alas.

Erm - hello? A bit more about the singers? The baritone Amonasro? Not good enough to register? Anyway, the prospect you paint doesn't sound mouthwatering even in the good bits.

Overall, it was terrible - not sure your review said that bluntly enough. It's no good having a production working in some places and completely failing in others - you're supposed to be hearing a whole story, which doesn't work if the beginning and end fail. In my mind, the middle was not much better. There was so much promise from the interviews and stories that came out before the first night. Getting rid of direct references to Egypt I though was a great idea. But you have to replace it with something clear; with the mixture of samurai, alien and Tolkien's Middle Earth, there seems to be no cohesive idea; there's no sense of religion, state and most importantly, the personal relationships of Aida/Radames/Amneris (no help given by some of the worse direction I have seen on stage). From what I could see, love between Aida and Radames was at most luke-warm and for some strange reason Amneris reminded me of a Klytemnestra - a different generation... No heed taken to a complex feeling we should have for Amneris; I think, one primarily of pity. In this production, no such depth. My ideal Aida would be much more bare, much more simple; I never thought I would say this, but more like Robert Wilson's terrible production than McVicar's hopeless one; at least with Wilson, you could lose the weird arm movements and gestures and there was a nice simplicity that allows the showcase of what should be the most important thing of the night - the music. Which was a not much better in this current run at Covent Garden. The conductor (with orchestra and chorus) saves the day and this is a fantastic reading of the score - perhaps the only reason for going to this Aida. Of the soloists, Amonasro and Amneris stood out (though I think Zajick remains a superior choice). Radames (Alvarez) is in wonderful voice, though not ideal as Radames yet - no big heroism of Vickers, or yet the fresh heroism of Carreras. To be honest, I must admit that, with today's tenors, I do prefer Alagna in this role. The huge let down was Aida (Carosi). I have somehow managed not to hear her singing until last night. The fact that the Royal Opera has engaged her again for Aida next season (first revival) was promising in my mind. But she was an utter disaster. I am never normally this unforgiving about any musician, but she has no place as Aida on the Covent Garden stage. She can go very loud and ridiculously loud - and that's it. There's no beauty, no colours, no variation. Don't think to ask for soft or subtle singing or a light phrase when needed. Absolutely awful. Even the audience (who from the clapping in strange places were not too familiar with the music) were reserved in their applause for Carosi. All in all, there were bits of good singing (oh, Robert Lloyd included here), but with the advantage of hindsight, I'd give this a miss, get your opera fix with Florez and Dessay coming up next, and wait till Boccanegra for some proper Verdi (production and cast).

This was the most boring, gloomy, ramshackle, unemotional, under rehearsed, badly sung, poorly played, hysterically danced mess I have ever seen at Covent Garden and I have seen a few turkeys believe you me. There was not one aspect to redeem it. I say ‘seen’ but we made our escape as the blue gauze thankfully came down in between scenes at the end of act 1 - we had seen enough. The earlier than expected cocktails at One Aldwych were however blissful. From operas seen at the House in the last few months ROH badly needs a hit

What a wasted opportunity, by the sound of it. Worth remembering that the Robert Wilson production which only lasted a single run before this took its place had some faults - chiefly when Wilson's customary hieratic slow motion didn't tally with the music - but ended with one of the most beautiful tableaux I've ever seen on stage, Radames's blue face against a blue cyclorama. And what a pity Covent Garden didn't jump to engage one of at least two outstanding black Aidas - I saw one of them, Adina Aarons, at Savonlinna, and she was superlatively good. For once, although the rest of the cast was excellent, she didn't have the scene stolen from her by the Amneris. Incidentally, the two above mentioned Aidas were the only ones I haven't walked out of (in the other instances, I should add, I wasn't reviewing...)

Blimey. I went tonight (Thurs 13th May) and thought it was excellent. Based on previous viweings of live performances of Aida at various houses (including Verona) it seems for some reason to be a difficult opera to get "right" - not quite sure why, but that's certainly been my viewing/listening experience. I thought the last CG attempt was truly awful - I actually did not stay to the end, for only the second time in my life (if I've paid, I'm gonna stick it out in case it gets better!!). Fascinated by those who think this one was worse. I think it was far better in every single aspect. The conductor, orchestra and chorus were outstanding. A great reading. I thought the principals ranged from outstanding to very good. Cannot understand the criticisms of Carosi's performance. Can only assume she performed very differently because the remarks above are objectively not consistent with the performance I heard (only loud or very loud? On Thurs she excelled especially in the "quiet" bits, of which she produced a whole load, and etremely effectively). I thought the costumes and lightly excellent for the most part, and was happy enough with the staging ; I don't agree staging must needs be either "literal" or "radical", with no other option. I accept that anyone unfamiliar with the opera might have struggled in parts if they relied wholly on staging to tell them what was happening. But you could level that comment at 90% of opera (and even straight theatre), and (especially since surtitles) you don't rely wholly on staging to work out what is going on. Nope, my companion and I thoroughly enjoyed the performance, and thought it was well worth going. (and agree wholeheartedly with the decision to ditch both director and conductor - yep, sorry - after the last CG effort at Aida)