Bleeding The Day Before Period

tailor Opera Aida: There were only three errors, three very serious

Finally, Aida was presented in society. Such was the public's desire to see this opera by Verdi, directed by Italian Stefano Poda, that the five thousand tickets were sold out two days before the function.

Aida was the great operatic end of 2005, and it rose to the rank of art center the Champ de Mars.

technical resources were beyond reproach. Good lighting, good sound and an excellent platform contributed to the development. Overall, the assembly was dramatic.
Awesome.

There were only three errors, three very serious. First, the director gave too much prominence to the more than 500 actors on stage. The problem is that the bell song singers were relegated to the background.
As if they were in charge of livening up a party, Stefano Poda put them behind a crowd that appeared throughout the work.
By allowing the mass of humanity a leading role, so central, it would be obliged to be even more virtuous than the solo, which was impossible because the singers are of much greater size to painting, geometry and visual design created by the director.

Second, the "estelarización" from the crowd is not possible to assess the physical presence of the singers. Most of the time no one knew who was singing, except when one of them expressed to the emotion gestures.
If we say that no matter see who sings, but the sound it produces, it would then play a disc while watching a choreography designed for pruning.

Another problem was that the crowd, composed of athletes, dancers and even National Army soldiers in Guatemala (yes, as it reads) was not entirely consistent with the text, nor completely synchronous when they needed.
At times, the actors were useless movements for the content. Recall also the chaos, abstract, rebellion, have consistency. Each element has a function of the stage. Such
crowd as a whole had a role, but the time came that he had nothing to do there, not even served to try to be a reflection of the emotions of the characters, let alone to be a reflection of our own which is is, are we will empathize with the staging.

Perhaps the director had this purpose, precisely to dislocate the massive oral performance. Such boldness is excellent when it gives us greater satisfaction in return. We do not advocate, either, by an imitation of reality, but by a more heartfelt and less architectural emotions, if not, what good is the theatrical?

Finally, the director, knowing that the content of Aida is romantic, he wanted to do something unconventional. That is a great merit, but got out of the Alexandrian sonnet, ie armed Baroque scenes, using all the bodies, which looked beautiful, spectacular, but it would require would be more than that, spectacular as it is just accumulated a lot of art at any stage.

The distribution of resources is what this show would make a perfect presentation, no matter if done the traditional way or with the ideas of Poda, who probably has known how to manage resources well in other works, but not this time know what to do with them and went on to create figures, very plastic, and even got Tai Chi, so nothing is wasted.

Juan Carlos Lemus (My Other Blog, welcome as: The Age of the Bumblebee: http://www.juancarloslemus.com/ )