Miscalculations Hinder San Diego’s ‘Aida’

The new production of Verdi’s “Aida,” which closes the San Diego Opera’s 31st season, looked better Tuesday than it sounded.

Towers, stairs and platforms designed by Michael Yeargan after Egyptian artifacts glided smoothly into place to set the various scenes. Huge cut-out figures of Egyptian gods or dynastic symbols flew down from the top of the stage. A wall of intriguing hieroglyphics formed one backdrop; in the far distance stood the pyramids.

Costumes designed by Peter J. Hall reflected the various nationalities absorbed--enslaved--into the mega-empire of Pharaonic Egypt. Everyone had done his or her homework for this co-production with Dallas Opera, which San Diego got first.

But there are some serious miscalculations. An enormous game board, depicting the warring armies of Egypt and Ethiopia, sits dead center in the first scene. The singers have to maneuver around it. The scene of the great triumphal march begins, for no good reason, in the dark with choristers holding candles. (Marie Barrett designed the lighting.)

Worse, for all the movable sets and stage machinery, the final entombment scene takes place essentially on one level, not two, as envisioned by Verdi and his collaborators.

So the lovers Aida and Radames expire in the foreground, while the repentant Amneris, whose jealousy has precipitated the tragedy, mourns, not above but behind them, way behind them. Her crucial participation in the juxtaposition of emotion is minimized.

Dejan Miladinovic directs the action straight-forwardly, if relying a bit too much on open palm, bent arm and unison gestures. He does introduce a puzzling moment before the priests interrogate Radames. Radames lies face down on the floor and four guards cover him with a shroud. Presumably this is to keep the focus on Amneris, who is singing in the foreground. But it looks weird and makes no sense.

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In her United States debut, Michele Crider proved an erratic Aida. She was often squally in the heights, swooping into notes and quavering while holding them, usually but not always when singing loud.

She does have a big, bright voice, and she can sing pianissimos. She also uses chest register effectively, but not all the time. And her acting was sensitive and affecting but, again, not always. It was, in short, a frustratingly unfinished portrait.

Her Radames was Lando Bartolini, monochromatic and steely of voice, dull and indifferent as an actor, and again sporting elevator sandals as he did when he sang the role for Opera Pacific in Costa Mesa.

Stefania Kaluza, also making a U.S. debut, looked statuesque and haughty as Amneris. She has a bright extension on top, but often sounded hooty at the lower end of the range, where much of the role lies. Her acting, particularly the villainy, tended to be semaphoric and broad. But her scenes of remorse were credible.

Mark Rucker made a strong but increasingly gravelly voiced Amonasro. Hao Jiang Tian was a vocally powerful Ramfis. Andrew Wentzel revealed a lyric baritone as the King of Egypt.

Matthew Bitetti brought a small tenor to the role of the Messenger. Sherry Dukes Williams sang the High Priestess with a dark, creamy soprano.

In the pit, Michelangelo Veltri revealed no special insights and conducted with more speed than finesse. The chorus sang lustily.

John Malashock, a San Diego choreographer whose credits include membership in Twyla Tharp Dance, made regrettable choices. While trying to capture the look of Egyptian art and inject eroticism into the proceedings, he created choreography that wavered between kitsch and the hoochie-coochie. It was not his nor his dancers’ nor the opera’s finest hour.

* San Diego Opera presents Verdi’s “Aida” with the same cast on Wednesday at 7 p.m. in the Civic Theatre, 202 C St. Standing room only available at $15 one hour before curtain. (619) 232-7636.