A last-minute cancellation at Atlanta Opera’s Aida turned Saturday evening into a brilliant homecoming for Atlanta native Indra Thomas, who triumphed in the title role. It was a night of great singing – some of the best Atlanta has heard in recent years.
Mary Elizabeth Williams, an attractive young soprano who has garnered considerable notice lately, was scheduled to sing Aida in a much-anticipated role debut. Illness struck, and Thomas flew in from New York, arriving at the theater at 6 p.m. with almost no time to rehearse. As the replacement was announced, a collective moan came from the audience. Few were prepared for what emerged.
After her first Aida, which took place here in 2003, Thomas has become something of an Aida specialist, singing this role more than any other, including with major international companies. She brings power and emotional intensity, along with floated high notes. Diction is sacrificed for tone, but the tone seems worth the trade. Her Aida is a tour de force. She is riveting on the stage; a real singing actress.
The other big surprise was Antonello Palombi, the young Italian tenor who sang Radames. He was first thrust into the spotlight at La Scala in 2006. Roberto Alagna was to sing Radames in the first night of Franco Zeffirelli’s Aida. The audience booed him and he quit on the spot. Palombi, his cover, was sent onstage still dressed in jeans and a T-shirt. He’s mostly sung in Europe since then, so few here have heard him. He’s the real thing: a classic Verdi tenor with a glorious pinging top, exemplary phrasing and charisma. At first, he seemed a bit insecure, occasionally coming up flat. Once he warmed up, however, he ran like a new Ferrari.
Truly great singing also came from Mark Delavan, who portrayed Amonasro, Aida’s father. Delavan, who has emerged in recent years to sing in major houses, combines dark power, expert diction and beautiful tone with charismatic intensity. Rarely will you hear r’s rolled so perfectly.
Mezzo Elizabeth Bishop's big rich voice is well-suited for the role of Amneris, Aida’s rival. But there was a callow, one-dimensional character to her portrayal. Atlanta native Morris Robinson -- a bass -- was satisfying in the role of Ramfis.
Conductor Yoel Levi brought a slowed-down, luxurious approach to the opera. While annoying to Verdi purists, who prefer a more electric pace to propel things forward, this did showcase the colors of the orchestra score. And it highlighted the skill of players, who keep sounding better each season, as does the chorus.
Few operas seem to cry out for extravagance more than Aida, the grandest of Grand Opera. Unfortunately, this production -- borrowed from New Orleans -- was “Aida light,” with bland, shallow sets and uniquely unflattering, oddly Roman-looking costumes. Still, opera is about singing. And, on that score, this was a night to remember.
Opera Review
Aida. Atlanta Opera. 7:30 p.m. Tuesday; 8 p.m. Friday; 3 p.m. Sunday. Cobb Energy Performing Arts Center, 2800 Cobb Galleria Pkwy. $25-$125. 881-8885, www.atlantaopera.org
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