Opera Reviews: Aida

My daughter is 16 and my son is 10. You can imagine what kind of music they listen to??? I told them I was going to take them to an opera, Aida. I knew a little bit about the opera and that the set designs would be impressive. Congratulations! My kids were so impressed with this opera, they want to see more. Thank you so much for the most enjoyable evening and creating a memory that my children and myself will cherish for a long time.

First of all I would like to thank and congratulate you on the magnificent production of Aida. I have a friend who complains that opera reviews these days concentrate on the production rather than the music. Let me assure you that the music was excellent as well. But the sets and costumes showed the MOT to be a world class company. This is in contrast to my recent experience of Gotterdammerung in Toronto and Die Walkure there some time before. The staging was an atrocity. It is a shame that they're going to open a new opera house with a production that is an embarrassment to anyone who has seen an opera that is not co-opted by pseudo artistic designers. The MOT certainly does not have that problem.

However, I would like to ask what has happened to the practice of not seating latecomers until there is a suitable pause? In an opera where the two most memorable arias come at the beginning, the noise and clatter of late seating was a disaster. Mumbling ushers, giggling patrons and slamming seats made "Celeste Aida" almost inaudible and "Ritorna Vincitor" was half, if not totally, ruined. It would be well if the civilized practice of holding back late arrivals were instituted at the MOT as it exists in almost every opera house in the world.

Thanks again for all your efforts on behalf of music in our area for over thirty years.

A totally awesome production! I was thrilled throughout the entire performance on the last Sunday. My husband attended for the first time, and he too found it most enjoyable. He's still talking about it.

One cell phone rang, and I was actually sitting next to one of the candy-opening noisy unwrappers. It's not the first time experiencing such; it's still annoying. My vote for a ban on cell phones and candy unwrappers in the house.

Coming from Ionia, I had wanted to see an opera in Detroit for several years now. Aida was the perfect choice. The sets, the singing, the costumes, and the Opera House all exceeded my expectations! Thank you so much for the perfect evening.

Aida was a great production with a superb orchestra, principals, and chorus. The music was absolutely stunning and played to perfection. I didn't personally care for the modern interpretation when it came to set design and some costuming, but it was still well put together.

The biggest disappointment was the distraction from audience members. Since much of the music in Aida is soft, such as the choral chants, it doesn't overpower the annoying people in the audience. During the Friday performance two cell phones went off during the first act and one during the third, a hearing aid squealed now and then, cellophane wrappers were SLOWLY opened in order to create as much noise as possible, etc. Will people ever learn how to behave in the theater?

Suzanne Acton and the MOT Chorus should be recognized for their beautiful work. The chorus not only looked amazing but made Verdi's extremely difficult work come alive. Bravo to all who made this production touch people's hearts.

This was my very first opera. It was worth the long drive. I did my homework and learned the story line and as much about the artists that I possibly could. The best word I can use to describe it is "powerful." The singing, the acting, music, set design, costumes... even the Opera House took my breath away. I never in my wildest dreams ever thought I would even think of going to an opera and there I was... completely awe struck! It was a wonderful night that I will never forget. I truly understand why they call this art. It was like a three dimensional painting brought to life.

My thanks to everyone that made this evening so memorable from the gal who sold me the tickets and also greeted us when we arrived to everyone that made it come alive.

Aida is one of my favorite operas and I have probably seen it 20-30 times over the years. This was my first time attending a Michigan Opera performance and I have to say I was quite impressed.

The singing was first rate across the board. I first heard Indra Thomas many years ago at the Metropolitan Opera District auditions in Atlanta. She has come a long way since then. She is a beautiful woman to look at, and her voice is beautiful to listen to. Her soft singing was especially impressive, especially in the Nile Scene. I only wish she had tried to sing the High C in "O Patria Mia" pianissimo as written as opposed to fortissimo. To me having the ability to sing that High C pianissimo is the mark of a truly great Aida, especially after the gut-busting singing in Act 2. I thought her best singing came in the Tomb Scene. Her "O Terra Addio" was really stunning.

Salvatore Licitra took a little while to warm up. His "Celeste Aida" was rough around the edges. He was breathing everywhere and seemed to be struggling. As he warmed up his voice filled the auditorium with ease. He tried to be musical and sing softly at times, but his best singing was his heroic singing, especially in the Triumphant Scene and the Judgment Scene.

Irina Mishura was a vocally thrilling Amneris. Her voice easily filled the house. Her Judgment Scene was really intense, but terrible stage direction took away her thunder. When she was singing down on the stage floor, her voice was huge and powerful. For the final part of the Judgment Scene she was standing above the tomb on a platform, where she lost a significant amount of volume. The ending is extremely exciting and difficult to sing, and her sound did not carry over the orchestra. Really a shame. Too bad the stage director did not have more respect for her and the music. But that seemed to be a theme with the stage direction all night anyway. In general the stage direction was terrible. It was awkward and really missed the mark, especially during the Judgment Scene and the Tomb Scene.

Gregg Baker and Hao Jiang Tian also were impressive. Kudos to the chorus, especially the guys in Act 1 Scene 2. Really nice dynamics and impressive soft singing. The sets were really great, and the orchestra also did very well. It appeared the ballets in Act 2 could have used a few more weeks of rehearsal, though.

All in all a really enjoyable night at the opera. Detroit should be proud it has such a fine opera company. I'm really looking forward to Salome in June.

Wonderful music and singing, less wonderful sets and costumes. Others have commented on audience distractions. It wasn't too bad on 4/26 but there was some audience chatter. How does one tell adults how to behave in public? Can the program be used to suggest appropriate audience etiquette? I wish the Hill Auditorium standards could come to prevail at the DOH.

In all my years of subscribing, this production of Aida was the best thing that I have ever seen presented by MOT. The singers, the orchestra, the costumes, the sets, the chorus, the conductor were all superb. I hated to see it end. It was so beautiful! Thank you!

Aida is an over-the-top production that demands grandiose treatment in every respect. MOT wildly succeeded. The set, singers, chorus, costumes, etc., were amazing. HINT: If you can't get center seats, I would recommend sitting so that you can see stage right (the right hand stage as viewed by the cast facing the audience). An interesting dance takes place there.

Cell phones were an issue. They also ring at venues where they ban them, make repeated announcements, place flyers in programs, etc. Maybe the ushers could remind patrons—ESPECIALLY late arrivals—as they seat them. Confession: once (out of a zillion times) I forgot to turn mine off until 30 minutes into the show (thankfully it didn't ring); it's a modern day problem.

I thank Dr. David DiChiera for introducing thousands of people, including me, to opera. I am quite an amateur but I learn a little every time. He changed Detroit, and I hope one day the Detroit Opera House is named after him! I will not be missing the 10th Anniversary Concert this Thursday, April 27.

Three cell phones rang in my seating area during Act 4 alone. How about a no-cell-phone, like no-food-and-drink, policy in the theater?

What a spectacle! What an extravaganza! The sets were ornate and fabulous! The artists were so good; I dare say this ranks as one of the top three performances I have seen in the decade of MOT performances! Antonello Palombi and Lisa Daltirus were so delightful together and their voices were so synchronized in the last scene, that even though I have seen this opera over a dozen times, it was such a beautiful yet mournful sound, I cried buckets! Bravo! Bravo! Bravo! I cannot forget to give honorable mention to all of the cast: Kudos go to Greg Baker, Nancy Maultsby, and Hao Jang Tian! In fact, to every one of the choral singers, and dancers, Bravo! This one is a must-see not only for the singing, and the sets, but oh, those costumes were breathtaking!