![]() ![]() One crucial test of an “Aida” is the electricity in the second-act confrontation between Aida and Amneris, who both love Radames. She was effective, not riveting, in the climactic Judgment Scene. Even the estimable mezzo Olga Borodina, her rich voice still glamorous even as some of its plushiness wears, lacked energy as the princess Amneris. The soprano Liudmyla Monastyrska has a handsome, unsettled voice and steely high notes, but her singing and acting were impassive, without the ebbs and flows of drama. But he carried himself onstage with grim efficiency, as if looking forward to leaving. While Marcello Giordani’s voice dissolved in the middle, the top of his tenor was secure as Radames: bronzed yet liquid. Zeljko Lucic, fresh from the title role of Verdi’s “Macbeth,” has an airy baritone a few sizes too light for Amonasro, Aida’s father, and he had a restless physical presence that worked in “Macbeth” but felt unfocused here. Little fire came from the central players. ![]() Making his company debut as the king of Egypt, Soloman Howard was ideally stentorian and steady. As the high priest Ramfis, Dmitry Belosselskiy unleashed power, but with a smoky roundness to his tone his voice was never merely loud. Most impressive at the Met were the two basses in the smallest of the major roles. ![]()
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