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Ruth Walz / Festival de Salzbourg

Opera

New

Aida

Giuseppe Verdi

Opéra Bastille

from 24 September to 04 November 2025

3h20 with 1 interval

Synopsis

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How to choose between love for an enemy general and love for one’s homeland? Such is the dilemma faced by Aida, an Ethiopian princess enslaved in Egypt, who also has to contend with the rivalry of Amneris, the Pharaoh’s daughter, who loves the same man as her, Radamès. Yet it is proud Amneris who begs the priests to pardon Radamès after he unwittingly betrays a military secret.

In this work, first performed in 1871 at the Cairo Opera, Giuseppe Verdi alternates epic scenes such as the famous triumphal march with more intimate arias such as “Celeste Aida”. While the context of the work’s creation owes much to the Egyptomania in vogue in the 19th century, the themes of Aida are as timeless as they are universal.

This is reflected in the staging by Iranian visual artist Shirin Neshat, who, making her Paris Opera debut, emphasises the cruelty of religious fanaticism, so swift to oppress women.

Duration : 3h20 with 1 interval

Language : Italian

Surtitle : French / English

Show acts and characters

CHARACTERS

Aida: Ethiopian slave, in reality the King of Ethiopia’s daughter
Radamès: Captain of the Egyptian army, in love with Aida
Amneris: Daughter of the King of Egypt
Amonasro: King of Ethiopia and father of Aida
Ramfis: Egyptian high priest
The King: King of Egypt

First part

Act 1:

BEFORE THE WAR: EGYPT IS THREATENED BY THE ETHIOPIANS.


Ramfis, the country’s religious leader, declares that the goddess Isis has appointed the new commander of the Egyptian army. Radamès, a young captain of the guard, hopes to be able to assume this honourable task. He is secretly in love with the Ethiopian slave Aida, who has until now concealed her royal status – even from Radamès. In the event of victory, Radamès would like to make Aida his wife. However, Amneris, daughter of the King of Egypt, is also in love with Radamès and has guessed that Aida is her rival.

A messenger confirms that the Ethiopians, led by their warrior King Amonasro, have invaded. Before an assembly of Egypt’s military and religious leaders, the King declares war on Ethiopia’s King Amonasro and appoints Radamès as his most senior commander. Amid the general euphoria, Aida remains alone. She becomes aware of the terrible conflict she faces – on the one hand, her love for her father (Amonasro) and her Ethiopian homeland, and on the other, her love for Radamès, an arch enemy of Ethiopia.

In despair, Aida wishes for death. At a religious ceremony, Ramfis calls upon the highest deity, Ptah, for support in the war. Radamès is inaugurated as commander of the Egyptian army and is blessed on the eve of battle.

Act 2:

AFTER THE WAR: THE EGYPTIANS HAVE DEFEATED THE ETHIOPIANS.


The women longingly await the warriors’ return. Amneris, who hopes for Radamès’ love, intends to clarify matters. With feigned sympathy and a lie, she tricks Aida into confessing her love for Radamès. Amneris now reveals herself as Aida’s rival, unleashing both pride and mortal fear in the latter. Boiling with rage, Amneris intends to humiliate the slave girl at the forthcoming triumphal celebrations. The entire political and spiritual elite, women of the court and common people have gathered to celebrate the Egyptians’ victory at a grand state occasion. Radamès is exuberantly hailed as the saviour of the fatherland, and the King promises to grant him any request.

When the Ethiopian prisoners are brought in, Aida immediately recognizes her father Amonasro, who conceals his true identity. He begs for mercy for the Ethiopians, but Ramfis and the priests demand that the prisoners should die. Radamès, however, redeems his wish by asking the King to release the prisoners of war.

On Ramfis’ advice, the King agrees to a compromise: Aida and her father must remain in Egypt as hostages while the rest are released. The King’s actual reward to Radamès, however, is Amneris’ hand in marriage, and later the throne. While Amneris is triumphant, Aida descends into despair. Radamès is secretly prepared to relinquish power for Aida’s sake. Amonasro swears vengeance.

Second part

Act 3:

THE ETHIOPIANS HAVE ONCE AGAIN INVADED EGYPTIAN TERRITORY.

On the eve of her wedding, Amneris, accompanied by Ramfis, makes her way to the Temple of Isis in order to pray for Radamès’ love. In the immediate vicinity, Aida is waiting for Radamès on the banks of the Nile. She wistfully reminisces about the beauties of her homeland, which she fears she will never see again. Unexpectedly, her father appears and demands that she incite Radamès to betray the Egyptians’ war plans. When she refuses, Amonasro puts his daughter under enormous pressure, going as far as to threaten to expel her from her family. When Radamès arrives, Amonasro conceals himself. At first, Aida reminds Radamès of his patriotic duty and attempts to dissuade him from his feelings for her.

However, when he passionately declares his love for her, she suggests – as the only way out – that they escape together to her Ethiopian homeland, which she describes to him as a lovers’ paradise. Radamès agrees. Aida then asks him, as she has been instructed, about the position of the Egyptian troops, which they would evidently have to evade. This leads Radamès inadvert ently to disclose the strategy of the war. Triumphant, Amonasro emerges and reveals his identity as King of the Ethiopians.

Radamès suddenly realizes what he has done and feels dishonoured. At that moment, Amneris comes out of the temple and discovers “the traitor”. Amonasro wants to kill her immediately, but Radamès manages to prevent him from doing so. Aida and Amonasro flee, while Radamès surrenders to Ramfis.

Act 4:

Amneris ponders her hopeless love for Radamès. Despite his betrayal, she wants to save him. For this reason, she has him released from prison and brought to her. She offers to beg pardon for him if he will defend himself against the charges and devote his attentions to her, but Radamès rejects all of Amneris’ suggested compromises. He stands by his love for Aida, even if it means death. Radamès is tried by Ramfis and the priests behind closed doors.

Since Radamès remains silent in the face of all charges, he is condemned to death. With growing dismay, Amneris follows the trial from outside. She finally sees through the bloodthirsty system and curses the priests. Buried alive beneath the temple, Radamès awaits his death. He dreams of Aida, who suddenly stands before him. She has secretly made her way here in order to die with Radamès. In the throes of death, the lovers fantasize about their shared happiness in the afterlife, while Amneris, outside, prays for peace for her beloved.

Artists

Opera in four acts (1871)

Creative team

Cast

The Paris Opera Orchestra and Chorus
Production created at the Salzburg Festival, revived in co-production with the Teatre del Liceu, Barcelona
A recording of Aida will be made, directed by Mathilde Jobbé-Duval, produced by the Opéra national de Paris with the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts, for a live broadcast on 10 October 2025 at 8pm on Paris Opera Play, the Paris Opera's streamign website.

Aida will be recorded by France Musique for broadcast on November 8, 2025, at 8 pm on the program "Samedi à l’Opéra", presented by Judith Chaine, and will then be available for streaming on the France Musique website and the Radio France app.

Media

  • SHIRIN NESHAT about AIDA

    SHIRIN NESHAT about AIDA

    Watch the video

  • Les Grands Entretiens

    Les Grands Entretiens

    Watch the video

  • Toï toï toï : Aida

    Toï toï toï : Aida

    Watch the video

SHIRIN NESHAT about AIDA

Watch the video

8:06 min

SHIRIN NESHAT about AIDA

By Isabelle Stibbe

Les Grands Entretiens

Watch the video

Alexander Neef, Shirin Neshat

18:19 min

Les Grands Entretiens

By Isabelle Stibbe

When an artist meets the Paris Opera's General Manager or its Director of Dance, what do they discuss? In this new series entitled Les Grands Entretiens, the Paris Opera lifts the veil on the artistic line-up of new productions for the 25/26 season. The choice of guest artists, the key themes, the directors' creative intentions and the choreographic styles: these exclusive twenty-minute exchanges offer you the first keys to the works that will soon be on the bill. 

In this interview, Paris Opera General Manager Alexander Neef talks to director Shirin Neshat about the new production of Verdi's Aida, a work whose modernity has a powerful resonance today.  

Toï toï toï : Aida

Watch the video

Meet stage director Shirin Neshat and soprano Saioa Hernández

1:19:29 min

Toï toï toï : Aida

By Marion Mirande

For its return to the stage of the Opéra Bastille, Verdi’s Aida is brought to life by renowned Iranian photographer and visual artist Shirin Neshat. She will engage in conversation with soprano Saioa Hernández, who performs the title role, to discuss the highly symbolic place that women occupy in her production.

For the second consecutive season, the Paris Opera is offering monthly encounters with artists to shed light on upcoming productions, just days before opening night. Titled Toï toï toï, these exclusive events held at the Amphitheatre or Studio of the Opéra Bastille give audiences a chance to discover new productions or explore the repertoire, and to engage directly with the artists at the end of each session.

  • AIDA by Giuseppe Verdi - "Se quel guerrier io fossi", Act 1 (Piotr Beczala)
  • AIDA by Giuseppe Verdi - "Possente, possente Fthà, del mondo", Act 2 (Margarita Polonskaya)
  • AIDA by Giuseppe Verdi - "Pur ti riveggo, mia dolce Aida" (Saioa Hernández & Piotr Beczała)
  • AIDA by Giuseppe Verdi
  • AIDA by Giuseppe Verdi - "Se quel guerrier io fossi", Act 1 (Piotr Beczala)
  • AIDA by Giuseppe Verdi
  • AIDA by Giuseppe Verdi - "Possente, possente Fthà, del mondo", Act 2 (Margarita Polonskaya)
  • AIDA by Giuseppe Verdi - "Se quel guerrier io fossi", Act 1 (Piotr Beczala)
  • AIDA by Giuseppe Verdi - "Possente, possente Fthà, del mondo", Act 2 (Margarita Polonskaya)
  • AIDA by Giuseppe Verdi - "Pur ti riveggo, mia dolce Aida" (Saioa Hernández & Piotr Beczała)
  • AIDA by Giuseppe Verdi
  • AIDA by Giuseppe Verdi - "Se quel guerrier io fossi", Act 1 (Piotr Beczala)
  • AIDA by Giuseppe Verdi
  • AIDA by Giuseppe Verdi - "Possente, possente Fthà, del mondo", Act 2 (Margarita Polonskaya)
  • Aida (saison 25/26) - Acte 2 - Vieni o guerriero

  • Aida (saison 25/26) - Acte 2 - Vieni sul cri ti piovano

  • Aida (saison 25/26) - Acte 1 - Ritorna vincitor

  • Aida (saison 25/26) - Acte 4 - Radames Traditor

  • Aida (saison 25/26) - Acte 1 - Celeste Aida

  • Aida (saison 25/26) - Acte 1 - Gia Tebe e in armi

Press

  • Between monumental bunkers and ghostly visions, the staging transforms Bastille into an intimate yet spectacular fresco.

    Olyrix, 2025
  • The chorus impresses with its precision and unity, in perfect harmony with an outstanding cast.

    Le Figaro, 2025
  • The homogeneous, brassy voice of the dramatic soprano [Saioa Hernandez] does full justice to the title role, with impressive musical discipline.

    Le Figaro, 2025
  • Piotr Beczala projects his voice with brilliance and resonance, reaching the top notes.

    Olyrix, 2025
  • A splendid set design, vibrant costumes, and lighting perfectly in tune with the production.

    Resmusica, 2025
  • Ève-Maud Hubeaux offers an electrifying Amneris.

    Télérama, 2025
  • Under the guidance of the indispensable Ching-Lien Wu, the Paris Opera Chorus navigates Verdi’s wide choral spectrum with spectacular ease.

    Le Monde, 2025
  • Staging [Aida] means confronting issues that are close to my heart, the artist emphasises. Feminism, politics, religion.

  • Shirin Neshat stages a highly political Aida at the Paris Opera.

  • Eve-Maud Hubeaux imposes an intense, forceful Amneris.

    Le Monde, 2025
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[REPLAY] Aida


Watch Aida on replay until 10 November 2025!

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Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

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Car park

Parking Indigo Opéra Bastille 1 avenue Daumesnil 75012 Paris

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Enslaved by the Egyptians, the Ethiopian Aida has been torn from her homeland – a form of forced uprooting experienced by many exiles compelled to leave their countries in search of freedom and dignity. To this dehumanizing condition of enslavement is added the further torment of an impossible choice between her lover and her country, between love and moral duty. Her lost paradise gives way to the disintegration of her inner world, from which only death offers release.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Parking Indigo Opéra Bastille 1 avenue Daumesnil 75012 Paris

Book your spot at a reduced price
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text
super alt text

Enslaved by the Egyptians, the Ethiopian Aida has been torn from her homeland – a form of forced uprooting experienced by many exiles compelled to leave their countries in search of freedom and dignity. To this dehumanizing condition of enslavement is added the further torment of an impossible choice between her lover and her country, between love and moral duty. Her lost paradise gives way to the disintegration of her inner world, from which only death offers release.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

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