| ◆◆ コンサートレビュー № 21 ◆◆ |
| ＭＥＴデビューで大成功を収める ニューヨーク・メトロポリタン歌劇場「アイーダ」（2007年 9月29日） |
| ニューヨーク・タイムズ ／ フィナンシャル・タイムズによる公演批評（抄） |
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ニューヨーク・タイムスによる公演批評（抄）原文
叙情性と壮大さの相克：どちらが勝利を得ただろうか ～ ベルナルド・ホランド ～ New York Times 紙（１０月１日付け） メトロポリタン歌劇場は、大多数のオペラ作品にとって大きすぎるようだが、しかし「アイーダ」にとっては、ちょうどぴったりのように思える。 この水曜日のマチネー公演でメットに戻ってきた、ヴェルディによる古代エジプトを題材にした作品にとって、あらゆる意味合いで「大きい」というのが、ふさわしい形容詞である。 ～ （ 中 略 ） ～ フットライト（訳注：指揮者に当たるオケピットのスポットライト）の両方の側にいる人たち（訳注：歌手、聴衆の双方）は、 大野和士の指揮に魅了されたように見える。 エレガントなテクニックに支えられ、入念で的確な指示を出した音楽的エネルギーに満たされ、彼は、これこそメトの呼び物というべき、大群衆のシーンをしっかりと手中におさめていた。 コーラスもオーケストラも彼に導かれ、素晴らしい成果を収めた。 |
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フィナンシャル・タイムズによる公演批評（抄）原文
アイーダ、メトロポチタン歌劇場、ニューヨーク ～ マーティン・バーンハイマー ～ The Financial Times 紙（１０月４日付け） ことさらに、（メト）デビューと取りざたされてはいなかったが、大野和士は、柔軟なテンポ、納得のいく正確さ、 必要なアクセントを表出した。 彼は、自らたずなを締めるべきところと、（歌手に）任せるべきところを知っている。 舞台の上は、おそらく、いつものお定まりのアイーダであったが、（オーケストラ）のピットの中は違っていた。 |
Aida, Metropolitan Opera, New York By Martin Bernheimer The Financial Times 2007-10-04 Sonja Frisell's Cecil B. DeMillish production of Aida, first seen in 1988, is back, and the crowds are happy. They applaud the marching spear-carriers, the hoochy-cooch slaves and immobile choral formations (Stephen Pickover serves ably as traffic cop). They applaud the horses (what, no elephants?). They applaud Gianni Quaranta's crumbling-antiquity decors even though the opera takes place during the reign of the pharaohs when the architecture in question must have been relatively fresh. They applaud push-button technology that allows towering sets to slowly rise or fall on cue. Peter Gelb, the general manager, has streamlined the proceedings, modifying the scenery for a quick change before the last act. Result: two intervals instead of three. Bless him. Authentic Aidas have become about as rare as dodo birds. In the good old days we had Zinka Milanov, Renata Tebaldi and Maria Callas, for starters ? spinto sopranos who could cut through the great ensembles, float exquisite pianissimo phrases, sustain arching lines with grace and project pathos at will. Today the Met has Angela M.Brown. Statuesque, dignified and diligent, she commands the right equipment. Unfortunately she seems to lack the right technique. Her broad tone flutters and loses focus under pressure. Her pitch seems unreliable, and she barely nips the top C in "O patria mia". The search goes on. Dolora Zajick, a force of operatic nature, has been storming the house as Amneris for 18 years. Although the opulence of her mezzo-soprano may have decreased a bit, her bravado remains triumphant. Marco Berti, the Radames on duty, brings stamina and a tenorial trumpet to the heroic outbursts but keeps on blaring when the challenge turns tender. Andrzej Dobber introduces a dark, remarkably sturdy and remarkably incisive baritone as Amonasro. Among the basses, Carlo Colombara is strong as the high priest, Dimitri Kavrakos weak as the king. Making an unheralded debut, Kazushi Ono enforces flexible tempos, reasonable precision and urgent accents. He knows how to lead and how to follow. A routine Aida on the stage, perhaps, but not in the pit. |
Lyricism Versus Magnificence: Guess Which Wins By BERNARD HOLLAND New York Times 2007-10-01 The Metropolitan Opera House may be too large for a lot of operas, but for "Aida" it seems just about right. "Big" in every aspect is the operative adjective for Verdi's update of ancient Egypt, which returned to the house for Saturday's matinee. The tenor role of Radames is an athletic event. The roles of Aida herself (soprano) and Amneris (mezzo-soprano) are in the thick of the competition. All three singers engage in a three-and-a-half-hour conquest of space, their human-size characters working for recognition next to the gigantic statuary, columns and facades of Gianni Quaranta's set design. No one does the Triumphal March of Act II like the Met: brilliantly lighted, with onstage trumpets, horses, near-endless formations of troops, war booty, wagon loads of corpses, prisoners and much, much more. Verdi's music placed in the right hands does much to even the struggle. His Egyptians represent not the delicate figures of the ancient glyphs but the heart-on-sleeve Italians he would have found on his own street corner: big in emotion and, in a lot of productions, big in size as well. Interestingly, however, one comes out of the opera house remembering less the magnificent outbursts than that gently rising major seventh of the duet finale. Angela M.Brown returns in the title role, and she is a splendid singer. It is said that big voices win out at the Met. Ms.Brown has one, but her real secret is a purity and presence that can send even the quietest passages floating out to the back of the house. She is passionate without loss of musical discipline. Her biographical materials don't show a wide range of roles, but she should be doing more. Marco Berti's ringing tenor engaged the role of Radames as an obstacle to be bested and a test to be passed. One could only admire his competitive spirit. As Amneris, Dolora Zajick confidently soared above everybody and everything. No opera role will get the better of her. People on both sides of the footlights seemed impressed by Kazushi Ono's conducting. Filled with a musical energy narrowed and pinpointed by elegant technique, Mr.Ono had the mob scene that is the Met's "Aida" firmly in his hand; the chorus and orchestra followed him to fine effect. The secondary male roles, many and important, are filled by Carlo Colombara (Ramfis), Dimitri Kavrakos (the King) and Andrzej Dobber (Amonasro). |
| (2007.10.01 up) |