egyptian relic

There is something reassuring about a visit from the Chisinau National Opera. It's the sixth time producer Ellen Kent has brought them to the Playhouse and the third at this time of year, when the exuberance of the Festival is still fresh in the mind. In comparison their simple, sparsely-staged productions of popular operas make a satisfyingly thump as they land in an area recently dominated by Wagner and Stravinsky.

Verdi is more Classic FM than Radio 3, but all the more welcome for it. The sets and costumes are not the most lavish (Chisinau is the capital of Moldova - the poorest nation in Europe) but there is no excuse for poor stagecraft. Putting aside the fact that some of the cast have difficulty remembering where their exits are, this Aida is clumsy. Apart from a sprightly Natalia Margarit in the title role, the performances belong to the good, ol' fashioned one-arm-extended school of acting.

The set meanwhile makes no virtue of its simplicity. The ubiquitous pyramid is poorly used, cramping the main action in an unlit area upstage. The lighting, meanwhile, seems to operate on only three settings: full, off and halfway.

Close your eyes, though, and Chisinau National Opera moves up a league. The band are perhaps too steady in their pace to be worthy of any real acclaim but the Moldovans clearly have one national resource worthy of export and that is singers.

Margarit is a powerful though not subtle soprano and combines well with the rich tone of tenor Alexei Repchinsky (Radames).

If you can ignore the wobbling cardboard Isis, then try this. However, if you cling to the notion that opera is a visual medium as well, then it's nul points for the Moldovans.

Copyright 2002
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