Thomas leads stellar 'Aida' cast at Lyric
CHICAGO -- Was that just the Chicago River washing as usual against the stone facade of the Lyric Opera House? Or had the massive building and the audience inside somehow been transported to the banks of the Nile in ancient Egypt?
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It seemed that way at times during Friday night's magical performance of Verdi's "Aida," which managed, for one evening at least, to bring back a golden age of Italian opera.
With four magnificent singers in the leading roles, it was easy to suspend disbelief and revel in this grandest of grand operas as it played out a tale of love, jealousy and religious fanaticism against a backdrop of war.
The performance is sure to be remembered as one of the highlights of Lyric's 50th anniversary season, especially because it brought the debut of soprano Indra Thomas in the title role of the Ethiopian slave in love with an Egyptian warrior.
Thomas, who has been building a reputation in Verdi roles at smaller American opera houses, has a voice of considerable beauty, combining a potent lower register with effortless high notes. And she has the breath control and technique to spin out Verdi's long melodic lines. More, she is a compelling actress, seizing the stage from her first entrance with no sign of first-night nerves and creating a vivid portrayal of a woman torn between love and loyalty to country.
Thomas becomes the second rising black American soprano this fall to make a triumphant debut as Aida at a major U.S. opera house. A few weeks ago, Angela M. Brown created a sensation at the Metropolitan Opera (and netted a Pg. 1 story in The New York Times.) Both would now appear to be launched on major careers that bode well for the future of Verdi performances over the next decade.
Equally impressive in his Lyric debut was tenor Salvatore Licitra. This young Italian has struggled a bit to maintain the momentum his career received when he flew in from Europe to substitute for an ailing Luciano Pavarotti at the Met in 2002. He's drawn mixed reviews for his performances since then, some critics complaining that he sings too loudly, others detecting pitch problems.
None of that was in evidence Friday night. Licitra, as the warrior Radames who secretly loves Aida, was a fluid and flexible partner for Thomas, paying attention to detail and modulating his considerable volume when needed. The bright, open sound of his tenor voice remains attractive, and the high notes ring out true and unforced.
The remaining leads were returning veterans whose success came as no surprise. Mezzo Dolora Zajick has practically owned the role of Amneris, the jealous princess who competes for Radames' love, for more than a decade, and she delivered another powerhouse performance. Baritone Nikolai Putilin, as Aida's father, Amonasro, matched the rest in lung power as well as authentic Verdian phrasing.
Conductor Richard Buckley did a marvelous job of bringing out the more lyrical moments in the score, starting with a prelude played unusually slowly and eloquently. The 10-year-old production by Nicolas Joel may be showing its age, but it has its moments of grandeur.
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