Verona. (International).(Aida)(Opera Review)

For his new production of Aida at the Arena di Verona (seen Aug. 22), Franco Zeffirelli actually invented a new character, defined in his program note as "a lofty spiritual creature" called Akmen (performed by ballerina Amaya Ugarteche), mysteriously present during key moments in the drama. One hardly felt the need for such an addition, and the stage was so crowded with extras during even the most intimate scenes that one barely noticed her. Moreover, all the characters were somewhat upstaged by the enormous, gold pyramid that dominated the set, flanked by handsome sphinxes.

It made for an impressive, beautiful spectacle, if rather unvarying in mood. (Little sense of place was conveyed in the Nile and tomb scenes.) Zeffirelli proved as proficient as ever in moving the crowds and creating a powerful stereophonic effect, with the large chorus (excellently trained by Armando Tasso). Vladimir Vassiliev's choreography was somewhat banal, though executed efficiently.

Conductor Daniel Oren paced the work ideally, encouraging the orchestra to relish the coloristic delicacy of the score and the singers to phrase with considerable expressive freedom. Despite ...