Aida, with Popcorn

 

Sunday, December 15, 2012 – Aida, with Popcorn

You’ve probably heard the triumphal march from Act II of Verdi’s opera Aida.  It’s widely recognized because it’s so often used as a processional at graduation ceremonies.  In fact, I’ve heard it countless times at Annandale High School graduations.  Although I have no trouble humming the familiar melody, I’d never actually seen a production of the complete opera.  I had to rely on my imagination to conjure up the grand spectacle on stage with a cast of hundreds, elaborate costumes, and sets that convey the magnificence of ancient Egypt.  But as far as the story itself was concerned, I was pretty ignorant.  Then the MetropolitanOpera Company came to the rescue,

No, I did not rush up to New York City to catch yesterday’s performance of Aida at Lincoln Center.  However, I did the next best thing – I went to a local movie theater and watched the Met’s matinee performance via an HD simulcast presentation.  So instead of rubbing shoulders with impeccably dressed New Yorkers at the Opera House, I crowded into a local movie theater along with a casually-clad group of popcorn munching opera lovers. 

I had my usual problem, i.e. falling asleep as soon as the lights went out, so I missed a good bit of Act I.  However, I stayed awake enough to follow the action and to see that a classic love triangle is at the crux of the opera.  Aida, the former Ethiopian princess now enslaved by her Egyptian captors, and Amneris, the Egyptian pharaoh’s daughter, are both in love with the Egyptian warrior, Radames.

Of the singers in the principal roles, the only name I recognized was tenor Roberto Alagna, who sang the role of Radames.  The role of Aida was sung by the Ukranian soprano Liudmyla Monastyrska, who made her Met debut just a few weeks ago.  She was a mesmerizing presence on stage, with a beautifully expressive voice, and totally convincing in the title role.  Amneris, Aida’s rival for the love of Radames, was sung by mezzo soprano Olga Borodina.  The acting skills of the cast brought the emotional impact of the opera to the fore. 

Since Aida is a Very Long Opera, there were two lengthy intermissions, which I put to good use as stretch and exercise breaks.  Two flights of stairs separated the theater itself from the entrance lobby so I scampered up the stairs, down the stairs, up the stairs, down the stairs, etc. until it was time to go back to my seat.  (I was a little surprised that no one seemed to notice this bizarre behavior – or maybe they just thought I was somewhat deranged and kept out of my way.) 

Seeing an opera this way is a great bargain.  For only $23, I was able to enjoy one of the world’s finest opera companies on stage.  And, thanks to the great camera work, I was able to get an up-close view of the costumes, makeup, and facial expressions that add so much to the opera experience.  In addition, the broadcast, hosted by opera superstar Renee Fleming, featured interviews with the principals and the conductor between acts, and showed the work going on backstage to make the production possible. 

Elliott wanted to join me but he knew that he’d be uncomfortable having to be upright for so many hours.  So he stayed at home, monitoring his pain level so he can give the doctor a report next week on the effectiveness of the most recent injections.  It seems that I’m becoming Elliott’s surrogate, i.e. going out and doing more and more on my own, then coming home and giving him all the details of what he missed.

After being out of the house for several hours on Saturday, it was a relief to be able to stay home on Sunday.  And knowing that I’ll be subbing four days this coming week, I designated this day as a day of domesticity.  In other words, it’s a day devoted to laundry, cooking, baking, straightening up around the house, reading and maybe even taking an afternoon nap.  So there’s no need to get dressed, and no need for makeup or contact lenses.  In fact, looking in mirrors is not allowed.