![\"Bavarian](\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2015\/09\/munichAida2.jpg\")
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By ANDREW POWELL MUNICH \u2014 Bavarian State Opera<\/a>\u2019s irredeemably banal 2009 Aida<\/em> has been spiffed up and its awkward action scheme apparently restudied for a fall run here. Even so, the honors at Monday\u2019s performance (Sept. 28) belonged firmly with the musicians, instrumental and vocal. Mannheim-based conductor Dan Ettinger<\/a> exerted a Karajan-like grip, stirring Verdi\u2019s music from the bottom up, parading its rhythmic strengths, brashly stressing percussive detail, and inevitably drawing attention to himself. Which is not to say he drowned everyone out: he accompanied attentively and savored well-rehearsed balances. The Bavarian State Orchestra<\/a> cooperated gamely; the Bavarian State Opera Chorus<\/a> sang with rare refinement in clear Italian. Krassimira Stoyanova<\/a> acted so credibly and poignantly through her essentially lyric voice that nobody would have guessed she is new to this opera. Her sound was pure and unforced, her phrasing properly noble for the title role. Amneris suits Anna Smirnova<\/a> better than did Eboli here four seasons ago, but her communicative singing in Acts III and IV followed a numb, robotic portrayal before the Pause<\/em>. Jonas Kaufmann<\/a> proved he can sing Radam\u00e8s outside of studio<\/a> conditions, and thrillingly, starting with an exquisitely shaped Act I Romanza<\/em> and progressing to generous, imaginative ensemble work. Franco Vassallo<\/a>\u2019s warm and unstrained Amonasro, Ain Anger<\/a>\u2019s formidable Ramfis, and Marco Spotti<\/a>\u2019s eloquent R\u00e8 d\u2019Egitto completed a straight-A cast of principals.<\/p>\n Photo \u00a9 Wilfried H\u00f6sl<\/p>\n Related posts:
Published: September 30, 2015<\/span><\/p>\n
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