With its outstanding facilities, its high production values, and its talented staff, (not to mention its bargain ticket prices), the Opera House has to be one of Cairo’s greatest modern assets.
Sayed Darwish, the famed Egyptian songwriter and composer, after whom the opulent Main Hall is named, would surely be pleased with his tribute.
Though he, like the small gathering that arrived to see Verdi’s ‘Un Ballo In Maschera’ (A Masked Ball) Monday, would be disappointed to see its under-use. The theater was less than half full for the performance.
Alas the show must go on, as they say, and the Cairo Opera Company – with its orchestra, choir and ballet – under the instruction of Conductor Nader Abbassi, Choir Master Aldo Magnato and Director Gihan Morsi, gave Verdi’s work an admirable rendition.
The Opera is loosely based on the assassination of Sweden’s King Gustav in 1792, who was shot at a masked ball he was attending, resulting from a political conspiracy against him.
Loosely based, both because of the input of dramatic censors at the time – the assassination was a sensitive political matter – and because of the dramatic license Verdi takes with the story.
The King, now named Riccardo, is in love with the wife of his closest advisor and friend Renato, while at the same time there is a conspiracy being plotted against Riccardo by other interests. He is aware of this and confides in Renato in the first scene, an early demonstration of their closeness.
However, as Renato comes to learn of a love affair between Riccardo and his wife Amelia – culminating in a spine-tingling performance of the aria ‘Eri tu che macchiavi quell anima’ – he joins in the conspiracy against his old friend.
In this way Renato becomes the driving force in what is a powerful allegory of male honor, loyalty, love and ultimately, betrayal, with more than a hint of Shakespeare’s “Caesar about it, not least in the dramatic climax.
“Un Ballo In Maschera is seamlessly produced. The players’ performances are commanding throughout, even if the emptiness of the hall gives their voices a peculiar resonance, and the set design and costumes are as pleasing to the eye as the supreme, and at times haunting, Cairo Orchestra is to the ear.
Translation in Arabic is projected at the side of the stage for those who don’t understand Italian, but frankly the quality of production is fluent enough to allow those without either language – like myself – to follow it with ease.
“Un Ballo In Maschera runs until Wednesday evening and a visit is highly recommended.
What’s more, you are guaranteed to get the best seats in the house.
