words yvonne teh

Hong Kong celebrates with one of the world’s best-loved operas.

“Opera as an art form now doesn’t belong to any country... It doesn’t belong to Italy. Not to France. Not Germany. It’s international.” Warren Mok, founder cum artistic director of Opera Hong Kong, has extolled his view on more than one occasion, so we were not surprised with his words to bc. And, in all fairness, it does seem fitting that he draws attention to the cosmopolitan, one could say colour blind, nature of the world’s oldest performing arts form when discussing what will be only Hong Kong’s third staging of Aïda this October as part of the HKSAR’s still on-going 10th anniversary celebrations.

The words are apt not least because the opera last staged here when Asia’s World City was returned to China has a particularly international history. Commissioned by Ismail Pasha, the Khedive of Egypt, and musically scored by Italian opera specialist Guiseppe Verdi, the ‘simple love story’ between the Egyptian general Radames and the enslaved Ethiopian princess Aïda is based on a scenario by French Egyptologist Auguste Mariette. And, although it turns out to be only apocryphal that this operatic passion play was written to celebrate the opening of the Suez Canal in 1869, it did have its world premiere at Cairo’s Khedivial Opera House on December 24, 1871.

The Italian and Egyptian connections are more than mere historical footnotes to this year’s joint presentation of Aïda by the Leisure and Cultural Services Department and Opera Hong Kong. For one thing, some cast members will come from Italy but
also stage director Maurizio di Mattia, considered by many in his native Italy to be one of the best in his field, will be at the helm of this version of Verdi’s famous opera. And, as Mok informs us, it just so happens di Mattia recently directed a production of Aïda in Egypt.

The tenor also proudly draws attention to the fact that the costumes worn by the production’s leading singers have come from Rome, though not just that makes them special. Rather, they are “very, very historical costumes”, over 70 years old and previously worn by many famous singers. Consequently, the internationally-renowned Mok – who will take the role of Radames in two performances in addition to his general producing duties – can’t help but “feel very privileged” to be able to wear them on stage.

Pride and privilege aside, Mok’s passion for Aïda could not be clearer, both from his enthusiastic words and the tone of his voice as he discusses the opera. For example, when asked why he thinks it is such an internationally popular work, he says without hesitation, “It’s the melodies. No doubt, it’s a music attraction. Aïda is great music. Really. From beginning to end, it’s never boring!”

Aïda has it all, he says – fantastic choral music, beautiful arias, famous marches and a first aria for the tenor – Celeste Aïda – that classical music lovers hang out for. Verdi’s genius, says Mok, was firstly that he really knew the human voice and wrote uniformly wonderful parts for all singers, sopranos to basses. (“With Aïda, everybody has a leading part,” he proclaims.) And secondly, the composer wrote music for grand spectacle as easily as for intimacy. Again Mok points to Aida for proof: the first two acts are “full of big scenes, choruses and marches but after the second act, it’s like a chamber opera. Only a few people stay on stage. That’s the greatness of Verdi: he knew how to make it big and also make it small.” It is a greatness that has installed Verdi as the world’s most popular composer of Italian opera and ensures that for whatever the reasons audiences flock to his music, they never leave unsatisfied.

Aïda will be performed at the HK Cultural Centre’s Grand Theatre from October 11 to 15. Evening shows are set to commence at 7:30pm, while the Sunday, October 14, matinee will begin at 2:30pm. Tickets for the evening shows are $880 to $150, while those for the matinee are $780 to $150 from URBTIX, 2734 9009.