aida

Giuseppe Verdi

Opéra Bastille - from 13 June to 16 July 2016

Indisposed, Yusif Eyvazov will be replaced by Marco Berti in the role of Radames on July 16, 2016.

Aida

Opera in four acts (1871)

Music
Giuseppe Verdi
Libretto
Antonio Ghislanzoni
Conductor
Daniel Oren
Director
Olivier Py
Il re
Orlin Anastassov
Amneris
Anita Rachvelishvili
Daniela Barcellona
Aida
Sondra Radvanovsky
Liudmyla Monastyrska
Radames
Aleksandrs Antonenko
Yusif Eyvazov
Marco Berti
Gaston Rivero
Ramfis
Kwangchul Youn
Amonasro
George Gagnidze
Vitaliy Bilyy
Un messaggero
Yu Shao
Sacerdotessa
Andreea Soare
Set design
Pierre-André Weitz
Costume design
Pierre-André Weitz
Lighting design
Bertrand Killy
Chorus master
José Luis Basso

Paris Opera Orchestra and Chorus
Audiodescription for the visually impaired on: 19, 22 June, 10 July 2016

French and English surtitles

about


"In the land of my ancestors, the air is fragrant and the earth is covered with perfumed flowers. The green fields and pleasant valleys will be our nuptial bed. Above us, the stars will shine with a clearer brighter light.

- Aida, Act III"


“The Triumphal Scene, with its blaring trumpets and its monumental grandeur, as authentic as contemporary Egyptology and the late 19th century imagination would allow, seals the tacit alliance between religion and the sword: a terrible machine to crush individuals which ultimately buries them alive in a vault. “Tu in questa tomba?” utters the inexpressibly moving, sweet and at the same time heroic voice of Radames, in mingled horror and rapture…

Yes, she has found her way to him, the beloved for whose sake he has forfeited both his honour and his life. She has been waiting here in order to die with him. The exchange of song between the two, interrupted at times by the muffled sound of the ceremonies taking place above, or harmonising with it, pierced the soul of our solitary night-watcher to its very depth, as much by reason of the circumstances as by its melodic expression. They sang of heaven, but the songs were heavenly themselves, and heavenly sung”, wrote Thomas Mann in The Magic Mountain.

Conductor Hans von Bülow once rashly described the Messa da Requiem as an “opera in ecclesiastical garb”. Aida could be a Requiem in Egyptian costumes, as its final bars rise pianissimo, morendo, sempre dolcissimo, as if adorned with a halo, up to the heavens.

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