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Posted by on Nov 1, 2012 in Reviews | 0 comments

‘Aida’ Melting Big Faces in Texas

by Melissa Wimbish

Antonello Palombi and Latonia Moore as Radamès and Aida (Photo Credit: THE DALLAS OPERA/KAREN ALMOND)

When the first few paragraphs of an opera review talk about how baller the voices were, it makes me so happy! Too often I have to sift through a boring Wikipedia ripoff summary and then read about when the opera premiered and blah blah blah…not that it isn’t nice to know those things, but most of the time it just seems like the reviewer is stalling. Not the situation in Dallas, people. Check out the Operagasm review rundown for Dallas Opera’s presentation of Verdi’s Aida!

So would you say that he kind of put you under arrest with his voice? (Badoomp ching): ”A stentorian tenor, Antonello Palombi, made the most of Radamès’ big moments. A former Italian police officer, he projected a real sense of machismo.”

Maybe get this guy to DJ your next house party: ”This was one Aida that was firing on all cylinders. Conductor Graeme Jenkins deserves great credit for a superb orchestral performance and a magnificent choral one — Alexander Rom is the chorus’s maestro.”

Best use of the word ragged that I have seen in quite some time: “There was one nervous moment during Sunday’s Aida. Just as the triumphal scene was about to get started, there was a series of loud noises offstage that sounded like set elements colliding and debris dropping. Some of the performers looked around nervously, and there was a brief patch of ragged ensemble in the chorus.”

Go for the Verdi, stay for the Aida: “The star of Sunday’s performance was soprano Latonia Moore in the title role. She first generated a lot of buzz in the Dallas area in 1998, when, as a University of North Texas student, she won the Dallas Opera Guild Vocal Competition in spectacular fashion…She certainly impressed again Sunday, with a powerful, gorgeous voice that could easily be heard even against massed forces. She also is a quite decent actress.”

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