AIDA at the O2 Dublin – fail
One of the central cornerstones of ancient Greek theology was the dual concept of ‘hubris’ (overweening pride) and ‘nemesis’ (being taught a lesson by the gods as a result, usually unpleasantly). Icarus’ ill-fated attempt at flying is the normal example of this given in the classroom, though the current state of the Irish economy also fits the bill. Or how about last Friday’s production of Verdi’s Aida?
With tickets starting at €70 and going on up to over €150, this was billed as the “biggest arena production ever staged in Europe” and “one of the most spectacular productions of Aida ever staged. The first claim can be dismissed on paper straightaway, as the O2 in Dublin can accommodate 14,500 (standing) or 9,500 (seated), as opposed to the 15,000 seated audience-goers that the Arena di Verona can handle. The latter claim is also quite a push, especially given the Zeffirelli production still in rep at the New York Met, which was screened worldwide on the October 24 HD simulcast. Still, no need to nit-pick – the central concept was that this ‘spectacular’ would ‘wow’ Irish audiences. In a piece in the Irish Independent on October 3, it was said that:
Opera, it’s fair to say, isn’t for everyone. As a cultural outlet, it’s viewed by some as esoteric and elitist and by others as boring and impenetrable. One way to counteract such prejudices and fears is to make opera more accessible and give those in the stalls more bang for their buck. That’s exactly what Irish audiences will get this December when a truly spectacular production of Giuseppe Verdi’s Aida is staged in The O2 for one night only…
OK, fair enough… maybe, up to a point. But didn’t they do Aida at the Point (as the O2 was formerly known) back in 1994? With the National Symphony Orchestra and the Army Band and hundreds of singers from local choirs?
Interestingly, for the weeks leading up to that article being published (during which all the affordable seats were hastily sold), no cast or creative team was mentioned anywhere. And the Amneris (Ines Olabarria) who was interviewed there didn’t appear – the role was actually sung by Stefania Scolastici.
So how did they do? The reports I’ve heard sound pretty dire. Unspectacular singing, flat sets that had to be clumsily assembled and disassembled in full view (to a slow hand-clap, apparently), the grand march peopled by a rent-a-crowd bunch of lads seemingly picked at random off the street who couldn’t march, extras wandering about not knowing what they were doing, technicians arguing with each other. No programmes to tell you what the story was about. No view of the surtitles if you were in the ‘wrong’ seats. But the ballet was good, at least, so that’s something. Apparently the overall impression, though, was of a show more embarrassing than your average school production – for ticket prices that would get you quite a good seat in the Paris Opera or even Covent Garden. And the O2 and Ticketmaster bought it. What a waste.
For the record, here’s Michael Dervan’s review in the Irish Times.
The Opera Page 