Name: Aida
Start: 2015-10-14T00:00:00.000Z
End: 2015-10-25T00:00:00.000Z
Location: Teatro Regio

Admin

Organization

Soprano

Kristin Lewis

Aida

Anna Pirozzi

Mezzosoprano

Anna Maria Chiuri

Amneris

Tenor

Marco Berti

Radamès

Riccardo Massi

Barítono

Mark S. Doss

Amonasro

Dimitri Platanias

Bajo

Giacomo Prestia

Ramfis

In Sung Sim

Rey de Egipto

Director(a) orquestal

Gianandrea Noseda

Director(a) de escena

William Friedkin

Escenógrafo(a)

Carlo Diappi

Diseñador(a) de vestuario/Figurinista

Diseñador(a) de iluminación

Andrea Anfossi

Coreógrafo(a)

Marc Ribaud

Anna Maria Bruzzese

Director(a) coral

Claudio Fenoglio

Teatro Regio di Torino

Orchestra

Orchestra del Teatro Regio di Torino

Turín

Italia

Teatro Regio

Aida Turin 2015 Lewis Rachvelishvili Berti

Originally commissioned to celebrate the completion of the Suez Canal and the opening of Cairo's new opera house, Verdi's Egyptian epic 'Aida' is here in a spectacular new staging, specially commissioned by Teatro Regio Torino to mark the reopening of the City of Turin's Egyptian Historical Museum to celebrate, which forms the world's largest collection of Egyptian artworks outside of Egypt. Under the musical direction of Gianandrea Noseda, "Aida" is authentically Egyptian in true Hollywood style by Oscar-winning American film director William Friedkin, creator of such famous films as "The Exorcist" and "The French Connection". .
Aida is perhaps best known for the sonic splendor of the famous Triumphal March, but the opera also thrives on the intimate tragic moments of the love triangle between the three protagonists: Radames, Egypt's victorious general, and the two rival princesses who love him, the daughter of the Pharaoh Amneris and her Ethiopian slave Aida. Among the top-notch cast, critics praised American soprano Kristin Lewis, who "displays a remarkable voice, captivating her with her powerful dramatic instinct" (La Stampa), and Georgian mezzo-soprano Anita Rachvelishvili, whose Amneris "set the stage with her dark, rounded, irresistible voice and her extraordinary stage presence dominates" (La Gazzetta Musicale). All found nothing but words of praise for Maestro Noseda: "He controls everything - orchestra, singers, choir, dancers, acrobats - with an all-encompassing overview" (La Stampa); "he knows exactly when is the right moment to linger on a timbre, a color, an expressive chord" (Corriere della Sera); "he draws from score colors of rare beauty and thus creates a magnificent tapestry of sound" (ResMusica); and particularly in the final scene: he resolves the expressive contrasts and vocal-instrumental system of dialogue with remarkable dramatic insight and orchestral refinement" (La Repubblica). (La Stampa); "he knows exactly when is the right moment to linger on a timbre, a color, an expressive chord" (Corriere della Sera); "he draws from score colors of rare beauty and thus creates a magnificent tapestry of sound" (ResMusica); and particularly in the final scene: he resolves the expressive contrasts and vocal-instrumental system of dialogue with remarkable dramatic insight and orchestral refinement" (La Repubblica). (La Stampa); "he knows exactly when is the right moment to linger on a timbre, a color, an expressive chord" (Corriere della Sera); "he draws from score colors of rare beauty and thus creates a magnificent tapestry of sound" (ResMusica); and particularly in the final scene: he resolves the expressive contrasts and vocal-instrumental system of dialogue with remarkable dramatic insight and orchestral refinement" (La Repubblica).

Aida Verdi

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