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| 來自：ywsing0 | 時間：Tue Oct 16 02:02:30 2007 | | <table width=600><tr><td>20071011-15@CCGT | Aida | Giuseppe Verdi | | Generally speaking, the main cast employed for this production is the strongest in these years. Most voices are large enough for the grand theatre. | | Radames. Oleg Kulko has a large and attractive voice. In full voice his Celeste Aida was superb: a sonorous beautiful sound. But better if he could avoid sliding onto high notes. Warren is at home in this role. There is no doubt his high notes are secure, but what disappointing is his Cantonese-like Italian. In some phrases ("Nume che duce ed arbitro") his inner mouth was not opened large enough, which is (IMHO) against bel-canto or operatic singing traditions. | | Both Aida have nice pianissimos. Since the chorus have to run around and attend reviews from chorusmaster, there was not much chance to hear all of "Ritorna vincitor" and "O patria mia." Impressions were they have touching sounds and almost faultless. After series of performances, Branchini became wobbly and spread at times. | | The Russian mezzo Amneris has a large voice but sang in accented Italian. In comparison, the Sweden Amneris has a softer beautiful tone. The differences were apparent in their renditions of "Ah vieni amor mio." | | Ramfis has a old and strong bass voice, and he sang in a heavy way to emphasize even more the basso quality. This was obvious as he only used the low notes to warm up. While such emphasis could be part of his characterization and may sound effective in judgement scene, the heavy and massive tone lost its vibrato and flexibility when going high F in "folgore morte." | | The another bass in the King role, portrayed by Gong, was much better in vocal technics. The sound is well-placed and pleasant. Gong deserves the most stable performer award. | | Priestess. Yim was good in this minor role, demonstrating her musicality talent as usual. In contrast, Julitta was disappointing. Her voice is dry and not in character. No one knows why this role need two casts when local talent is abundant. | | David was more in character as messenger, while Alex sang with better vocal uniformity. | | chorus | | You can hear how the human voice genius Verdi is by hearing the most beautiful soprano choral piece in act 2 beginning. I might prefer more bathroom girls to form better sound (How about some singing backstage?) They need more overtones to ring in grand theatre, even for chorus. The OHK chorus has many newcomers (me included), which (IMHO) have to admit cannot reach professional level as a whole. The diction was unclear, someone not watching conductor and there are even places in chaos. The middle school chorus and extras are noisy and unfamiliar with the stage. Most of them do not know how to act. | | Dancing was best performed on Sunday night. | | The set were all ancient Egypt scenes, beautiful but not really wonderful (I think OHK accepts only traditional but not modern settings). What's more serious a problem is we have too small a stage to hold all choristers, extras and the set. People are often blocked. This must be total different from venues like teatro di Verona with plenty of space to demonstrate the Grand March. Not to talk about bringing in elephants and horses!</td></tr></table>
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