# Aida in Gozo (Oct 2016)



## Don Fatale (Aug 31, 2009)

Last night I went to see *Aida* on the Maltese island of Gozo.

A recap for those who haven't read all my previous reports (I don't blame you!)... the small island (pop. 30,000) in the Mediterranean has two 'philharmonic societies', across the main street from each other, and each with its own opera house, primarily used for their single annual opera production, both of which take place in October. There's an entertaining German language documentary with English subtitles which explains all..
http://www.arte.tv/guide/en/055902-000-A/the-battle-of-the-operas-in-malta?country=GB

I've been here before and this was true to type: A homemade production of higher quality than many professional companies. A chorus of enthusiastic locals of somewhat less than professional standard. Traditional scenery and costumes which aim to recreate the opera in its authentic form. Hired in principal singers of varying standards.
For an amateur (in the best sense) production tickets aren't cheap at €70. Their largest expense by far is getting European circuit singers to take the money on offer. Usually this means Italian circuit singers, sometimes even those who's last gig was at La Scala! Tonight's cast was mainly from nearby Sicily.

Good tenors are always in short supply on the opera circuit, and tonight we made do with _Antonino Interisano_. He made an inauspicious start, rather flat on the cilmax of Celeste Aida, but found the correct pitch in subsequent scenes Fresh from Verona Arena we had _Sanja Anastasia_ as Amneris who was underpowered at first but soon found her arena volume. She lacks charisma and elegant movement, but at least vocally she lets rip later, particularly in her big Act IV scene. _Silvia Dalla Benetta_ is our sweet voiced Aida. She's easy to like, although it felt like her lungs could never take in enough air, and the last few notes of some phrases weren't held as I'd like. _Carlo Colombara_ is the big house player with regular roles at La Scala. However his deep and too youthful bass didn't impress. _Petri Lindroos_ had a more attractive tone in his role as the king.

With such a 'sing and run' approach, the drama suffers as the interaction of the principals lacks a connection. Time with a movement coach is needed. Given that there are no surtitles it's even more important that singers act their roles fully.

And what of the evening in general? I've previously called this audience one of the worst in the world, certainly the worst I've come across. Constant talking, camera phones popping up and down for photos and video, phones ringing, programs and cans(!) being dropped. The 70's leatherette seats are perfectly fine with legroom and good sightlines but there's a perpetual lack of stillness in the house even through the final scene. I was with friends and had a nice time, I only go to Gozo operas if it's a social occasion in which case it's a rather special and unique opera trip.


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