Baritone Michael Honeyman in Opera Australia’s AIDA
Opera Australia returns to Melbourne with its critically acclaimed production Aida.
A production like no other, Aida features ten floor-to-ceiling digital screens with immersive video designs, transporting audiences to the beautiful and picturesque shots of Egypt. Coupled with lavish costumes and props, the show is a design triumph that will undoubtedly set a precedent for future productions.
Play Amonasro in Opera Australia’s Aida is Michael Honeyman. A graduate of Australian National University of Canberra and Australian Opera Studio Perth, Michael Honeyman began his career singing roles such as Lescaut (Manon), Eisenstein (Die Fledermaus), To fart (Hansel and Gretel), Raul St. Brioche (The Merry Widow), Publio (La Clemenza di Tito), Nardo (La Finta Giardiniera), Macheath (Threepenny Opera House), Sat (Problem in Tahiti) and Salieri (Mozart and Salieri). Aida marked Michael’s first Verdi show, and revisited it three times since his first performance of Amonasro with Handa Opera in 2015 – with Griffith Opera in 2017, and with Opera Australia in 2018 and the current 2021 season. Michael has since gained a reputation as a specialist in the dramatic baritone roles of Verdi and Puccini, receiving Green Room and Helpmann Award nominations for numerous performances.
Are you excited to be performing in a show in Melbourne this year?
Michael: Like many of us, I’m really excited about the return of live performance to our theaters. As a regular visitor to Melbourne, I look forward to sharing the joy of opera live with local audiences.
Aida was written 150 years ago – how is Opera Australia keeping it fresh for a 2021 audience?
Michael: Aida is one of the grandest of the great opera houses. The central love triangle is a timeless story. But the use of digital technology brings a vibrant new dimension to the spectacle and to the mythical proportions of the decor.
What’s the hardest part of working with new technology?
Michael: The hardest part of working with new technology is not being overwhelmed or distracted by the images behind you. They are often striking in their dynamism or their sheer beauty.
And the most exciting?
Michael: The use of digital technology in opera is still quite new and extraordinarily promising. It seems like we can create anything we can imagine.
Why should the public come and see Aida?
Michael: The phenomenal singing, the catchy choirs, the opulent visual feast (of digital screens, costumes and dancers), plus this is the first opportunity to see the opera live on stage at the State Theater in over a year. year.
Aida opens at the Arts Center Melbourne’s State Theater on May 6.
For tickets and more information, visit the Opera Australia website.