Alberta Bair Theater
2801 3rd Ave N Billings, Mt 59101
(406) 256-6052Student Show on Thurs. April 25 at 9 AM

Main Performance
Sat. April 27 @ 7:30 pm

Billings Gazette Story:  'Aida:' It's not complicated, it's Verdi and it's beautiful
Billings Gazette Story:  'Aida' celebrates Verdi's 200th birthday, ROC debut by Kansas soprano Andrea Garritano
Billings Gazette Story: Tragic 'Aida' fills the ABT for Doug Nagel's swan song


Program (PDF)

Study Guide

Cast

Andrea Garritano, Aïda
Michelle Berger, Amneris
Christopher Bengochea, Radamès
Robert Aaron Taylor, Amonasro
Dennis Rupp, Ramfis
Daren Small, King of Egypt
Carolyn Coefield, High Priestess
Barbara Day Turner, Conductor
Matthew Haney, Stage Director
Jan Halmes, Rehearsal Pianist
 
Doug Nagel, Chorus Master & Producer

Dress Rehearsal Photographs

Synopsis

Act One
In the royal palace at Memphis, the high priest, Ramfis, informs Radames, a young captain of the guard, that Ethiopia is posing a threat to the Nile Valley. Radames hopes that the goddess Isis will choose him to be the leader of the Egyptian army, believing that a victory over the Ethiopians would enable him to free his secret love, Aida, the Ethiopian slave of the king's daughter, Amneris. Amneris, who also loves Radames, enters and begins to question Radames, suspecting that he is in love with Aïda. A messenger arrives to announce that Amonasro is leading the Ethiopian army to march on Thebes. Radames is appointed leader of the Egyptian army, and he leads his men in a battle hymn ("Su! del Nilo!"). Amneris is echoed by her people as she cries, "Return Victorious!" Aïda is stunned to hear herself repeat these words, and is left to contemplate her conflict of loyalties. Although her captors do not know it, she is the Princess of Ethiopia and her lover will soon be engaged in battle with her father.

Act Two
Radames is the victor in the battle. While awaiting his return, Amneris is groomed and entertained by her slaves. In an attempt to determine if Aida does indeed love Radames, Amneris tells her slave that he was slain in battle ("Fu la sorte degli armi"). Aïda's sorrowful response reveals her secret love. Amneris then discloses that Radames is really alive, but subsequently threatens Aïda, She is to keep her place as a slave and ignore her feelings for Radames. Aïda nearly confesses her royal identity, but instead, pleads for mercy. As Radames returns, a parade and dances celebrate the success of Egypt ("Gloria all' Egitto, ad Iside"). Radames is crowned victor by Amneris and his captives are lead in; these include Aïda's father, Amonasro, disguised as an officer. He warns Aida not to give away his royal identity, and proceeds to plead for mercy for the lives of his fellow people ("Ma tu, Re, tu signore possente"). Ramfis and the priests suggest that the captives be killed, but Radames asks for the captives' freedom to be his reward. Ramfis suggests that all but Aida's father be released. The King agrees and gives Radames the hand of Amneris as his reward for victory.

Act Three
Ramfis leads Amneris to a temple of Isis on the bank of the Nile to receive a blessing on the eve of her wedding. Her face veiled, Aïda enters to wait in secrecy for Radames. She is immersed in nostalgic thoughts as she longs for her conquered homeland ("O patria mia"). Her thoughts are interrupted by the appearance of her father, who has learned of her love for Radames. He encourages her to betray Radames by tricking him into revealing the Egyptian army’s invasion plan. She attempts to decline, but finally agrees as he scolds her loyalties and reminds her of what the Egyptians have done to her beloved homeland. Unaware of Amonasro's presence, Radames appears to Aïda, declaring that he will marry her after his next victory. She instead insists that they run away together to Ethiopia ("Fuggiam gli ardori inospiti"), and asks which route they will take. Upon hearing the Egyptian plan, Amonasro shows himself and declares that he is actually the King of Ethiopia. Radames is horrified by his unwilling act of treason ("Io son disonorato!"), while Aïda and Amonasro try to convince him that it was an act of fate. Amneris discovers them, declaring that Radames must be a traitor. Amonasro lunges at Amneris with a drawn dagger, but he is stopped by Radames. Radames unexpectedly urges Amonasro and Aida to escape. He then places himself under arrest ("Sacerdote, io resto a te").

Act Four
Radames is sent to the Temple of Judgement where Amneris offers him a chance to save himself. She will plead for him if he will forsake Aïda ("Già i sacerdoti adunansi"), yet he refuses, preferring death. Amneris listens as the priests ask him three times to defend himself. Radames refuses to answer and is condemned to death. Amneris, appalled at the consequences of her jealousy, declares that their need for revenge will kill an innocent man. Buried alive in a tomb beneath the temple, Radames thinks only of Aïda. Suddenly, she appears in the presumably sealed temple basement, having slipped in earlier to share her lover’s fate. Radames fails in a final, desperate attempt to remove the stone holding them in the chamber. Resigned to their fate, the lovers bid farewell to the earth ("O terra addio"). Radames faces death with Aïda. Appearing above the vault, Amneris mourns and prays.

Tragic 'Aida' fills the ABT for Doug Nagel's swan song by Jaci Webb April 28, 2013
• Rimrock Opera Company’s performance of “Aida” Saturday night was stunning visually and musically, a fitting farewell for longtime artistic director Douglas Nagel.
The production sold out several days before the performance at the Alberta Bair Theater, a reminder that Billings supports opera. Nagel, who is retiring from his post at the ROC after helping produce 22 operas, leaves next week to teach in China and will continue teaching voice at Montana State University Billings in the fall. A reception was held for Nagel after the production.
For “Aida,” Nagel served as director of the chorus, which at 55 members was the largest ever assembled for an ROC opera. Everything about the Verdi production was over the top, from the gold and bronze backdrops depicting Egyptian temples and pyramids to the live animals on stage, including an owl, black swan, and a ball python, to the innovative dance choreography by Krista Marshall, of Terpsichore Dance Company. But it was the strength of the vocals of soprano Andrea Garritano in the title role and tenor Christopher Bengochea as her lover Radames that made this production shine.
Bengochea, a Montana native who studied voice at Montana State University and the University of Montana, brought emotion and passion to his performance as a warrior torn between his love of country and of Aida. Garritano, who one audience members said can make you melt with a single note, lives in Emporia, Kan. She stepped in only two months ago after the original soprano, Amy Logan, had to drop out due to medical reasons.
The production opened with three dancers silhouetted in a soft blue light and framed by arches and brocade curtains. The opulence of the scene where the dancers are joined by the Egyptian King, played by Darren Small, sets the tone for the production. It is that pairing of beauty and personal tragedy that make the plot and the music so compelling. Director Matthew Haney brings a fresh vision to the stage and conductor Barbara Day Turner uses her vast opera and musical theater experience to bring Verdi’s sweeping score to life. And to Nagel, a final bravo!


From left, Andrea Garritano as Aida, Michelle Berger as Amneris and Christopher Bengochea as Radames are cast members in the upcoming production of Verdi's "Aida." The lavish Rimrock Opera Company production will feature exotic animals from Zoo Montana, including Fierca, a Canada lynx.
Photograph by Casey Page, Billings Gazette



Christopher Bengochea sings the role of Ramades in the Rimrock Opera production of Aida
Photograph by Casey Page, Billings Gazette



Michelle Berger sings the role of Amneris in Rimrock Opera production of Aida
Photograph by Casey Page, Billings Gazette


Stage Director Matt Haney and Conductor Barbara Day Turner are two of the creative forces behind Rimrock Opera's production of Aida
Photograph by Casey Page, Billings Gazette


'Aida:' It's not complicated, it's Verdi and it's beautiful by Jaci Webb
April 19, 2013

The best thing to do if you take in Rimrock Opera Company’s production of “Aida” next week is to sit back and let the music and the spectacle roll over you.
That advice, from conductor Barbara Day Turner, will help the seasoned operagoer as well as a first-timer. A public dress rehearsal of “Aida” is Thursday at 9 a.m. and the full stage production is Saturday, April 27 at 7:30 p.m. at the ABT.
Giuseppe Verdi’s “Aida” is the grandest of grand opera. This production won’t have the traditional live elephant on stage, but ZooMontana is helping out by lending their lynx and great horned owl. There will also be a ball python on stage. Handlers will be on stage in costume to help with the scenes. “Aida” also boasts the largest chorus ever assembled for a Billings opera, including 55 community vocalists. In addition, 10 ballet dancers and two herald trumpets will perform.
But in the end, it’s the music, some would argue Verdi’s finest, that is the big attraction. “It’s one beautifully crafted melody after another,” said Andrea Garritano, who makes her Billings debut in the title role.
Riffs from this score are everywhere. You’ve likely heard the melodies in commercials or pop songs, but hearing them sung by professional vocalists in Italian, backed by a live orchestra, will be a wonder.
This production is bittersweet for many area opera fans since it will be ROC artistic director Douglas Nagel’s final show. He is retiring at the end of the season, and the ROC is seeking a replacement. Nagel, who produced 23 operas during his 14-year career with the ROC, is serving as chorus master and producer for “Aida.”
Nagel said this is the most demanding opera he has produced in Billings. Some of the bigger challenges for ROC were to create Egyptian pyramids and temples for the stage, along with a victory parade and war rally with soldiers and slaves.
“Aida” tells the story of a treacherous love triangle framed by the conquest of Ethiopia by the Pharaoh and Radames, the leader of the Egyptian army.
Aida falls in love with Radames, even though his warmongering has led to her becoming a slave. The Pharaoh’s daughter Amneris is also in love with Radames and will stop at nothing to destroy Radames and Aida.
The glory of this opera is Verdi’s musical balance of pomp and pageantry with the deeply moving personal tragedy of the two lovers.
Garritano described the duets she performs with Christopher Bengochea, as Radames, as angelic. “The duet in the end is surreal," Garritano said. “Verdi uses the same three-quarter pattern that he used in ‘Traviata’ with the tremolo.”
Other musical pairings have Michelle Berger as Amneris singing with Bengochea and Garritano. Garritano stepped into the role in March after the original vocalist, Amy Logan, could not perform due to health issues. Garritano said she couldn’t pass up this chance because Aida is one of the premier female roles in opera. Garritano spent a month immersing herself in the music, the language and the heartache.
“It takes so long for these roles to settle; it’s an emotional journey,” Garritano said.
Turner pointed out that for Garritano to perform in this role at a mid-level production meant there was more nurturing and guidance for her. A bigger company may not have provided that.
Director Matt Haney encouraged Berger, a Billings native, to take a different approach to Amneris’ character. He believes she wants to possess Radames, but she doesn’t really love him.
“At the end, I sing about peace and mercy. But it’s too little, too late,” Berger said.
ROC veterans Robert Aaron Taylor, Dennis Rupp, Daren Small and Carolyn Coefield all portray major characters in “Aida.” Jan Halmes, of Missoula, is the new rehearsal pianist and will perform in the orchestra pit as well.
Turner said she first heard the music of “Aida” as a child, listening to Metropolitan Opera Company recordings with her grandmother while they cooked spaghetti sauce together.
“It’s not complicated; it’s beautiful,” Turner said. “It’s just a fantastic opera for veteran opera fans or people who have never seen an opera before.”

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