The performance space works brilliantly in all scenes except the very last, in which a mess of haze and lights leaves only those familiar with the plot capable of recognising the scene as supposedly representing an underground tomb. The cruelty of war is also seen when Radamès is kept onstage for his trial, during which he is held by long ropes and summarily tormented. In a well-considered touch, Edwards offsets the avaricious procession of the spoils of war with two long rows of the coffins of fallen Egyptian soldiers. Nefertiti rotates to have a look at the city skyline reveal a mighty altar for the return of the conquering Egyptian army. Designer Mark Thompson has balanced the grand and the functional, providing a vast playing space that gives plenty of room for Edwards to stage the requisite eavesdropping, spying and furtive glancing that can seem cramped and unrealistic on a regular stage. In a modern, but generally nondescript, period, the crumbling façade of Queen Nefertiti keeps an eye over a fortress of sorts, which is stashed full of golden treasures and barrels of fuel. In short, Edwards delivers an operatic experience over and above a stadium experience. Using light and colour to make the performers feel vividly close, Edwards successfully achieves the miracle of establishing an affecting bond between performer and audience despite the massive size of the 3000-seat arena. Many visitors to Sydney are attracted to see an opera inside the Opera House, but when used instead as a backdrop, along with its iconic bridge partner, the effect is utterly magical.Įxperienced director Gale Edwards has delivered a far more interesting and engaging production than the superficial flashiness of 2013’s Carmen, Edwards shows great respect for the intimate love triangle at the heart of Aida, allowing the many personal and poignant moments to breathe undisturbed on the massive stage. Equal parts social and cultural event, the hospitality, ambience and twilight setting are all second to none. Now an established, and highly anticipated, annual event, Handa Opera on Sydney Harbour finally presents inevitable outdoor spectacle Aida, camels and all. Playing the title role of Aida means that, fortunately, the show is already hers for the taking. In a ravishing display of the depth of her extraordinary talent, American soprano Latonia Moore outshines camels, fireworks and dancing girls to walk away with the fourth annual Handa Opera on Sydney Harbour.
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