Name: Aida
Start: 2025-01-28T00:00:00.000Z
End: 2025-02-12T00:00:00.000Z
Location: Royal Opera House

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Royal Opera House

Художник-постановщик

Miriam Buether

Художник по костюмам

Annemarie Woods

Художник по свету

Robert Carsen

Peter van Praet

Видеодизайнер

Duncan McLean

Хореограф

Rebecca Howell

Режиссер-постановщик

Дирижер

Daniel Oren

Хормейстер

William Spaulding

Soprano

Anna Pirozzi

Аида

Тенор

Riccardo Massi

Радамес

Меццо-сопрано

Ekaterina Semenchuk

Амнерис

Баритон

Amartuvshin Enkhbat

Амонасро

Бас

Alexander Köpeczi

Рамфис

George Andguladze

Царь Египта

Khayakazi Madlala

Жрица

Andrés Presno

Гонец

Orchestra

Orchestra of the Royal Opera House

Others

Chorus of the Royal Opera House

итальянский

Aida -  (Аида)

Лондон

Великобритания

Main Stage

Public

Sharan Allad

английский

Одобрено

Robert Carsen’s ‘transformative’ (Financial Times) production situates Verdi’s large-scale political drama in a contemporary world, framing power struggles and toxic jealousies in a modern, totalitarian state. Daniel Oren conducts Verdi’s monumental score, with Anna Pirozzi as Aida, Riccardo Massi as Radames, Ekaterina Semenchuk as Amneris and Amartuvshin Enkhbat as Amonasro.

AN EGYPTIAN OPERA?
‘Cyprus; Spain; Jerusalem; Paris; the banks of the Euphrates; Mantua. The operas of Giuseppe Verdi are set in a variety of diverse locales, depicted in some detail in the set descriptions contained in the librettos,’ writes Francesco Izzo, in his Aida programme article. While many contemporary iterations of Aida have seen directors stage Verdi’s story of love and war outside of a more outdated ‘Egyptian’ (read: elephants, pyramids) landscape, Izzo acknowledges that there can still be ‘little doubt that when the curtain rises at the beginning of the opera a sizeable majority of the audience will be expecting to find some rendition of the set description found in the libretto: “A hall in the King’s palace in Memphis …A large gate at the back, through which the temples and palaces of Memphis and the pyramids are visible.”’  

A STARK SPECTACLE
The appeal, surely, is spectacle, the grand columns of said temples and palaces and colourful dance and chorus scenes the perfect recipe for a crowd-pleaser. But strip this away – as in Robert Carsen’s stark and deliberately cold staging – and Aida, at its core, is still a rich and deeply immersive story. Much like Verdi’s other popular operas (think Don Carlo, La forza del destino and Rigoletto), Aida captivates audiences with its tragic love story and with its poignant exploration of the unbreakable bond between father and daughter. It is these enduring themes, in the end, that allow us to think of Aida not as an ‘Egyptian’ opera, but a human one.

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