| Verdi, Giuseppe (1813-1901) | Aida | Libretto by Antonio Ghislanzoni |
| Opéra national de Paris | ||
| Michele Mariotti | Conductor | |
| Shirin Neshat | Director | |
| Christian Schmidt | Set Designer | |
| Tatyana van Walsum | Costume Designer | |
| Felice Ross | Lighting Designer | |
| Orchestre de l'Opéra national de Paris | ||
| Chœurs de l'Opéra national de Paris | ||
| Yvonne Gebauer | Dramaturgy | |
| Dustin Klein | Choreography | |
| Ching Lien Wu | Choirmaster / chorus director | |
| Ève-Maud Hubeaux | Mezzo-soprano | Amneris |
| Piotr Beczała | Tenor | Radamès |
| Roman Burdenko | Baritone | Amonasro |
| Ewa Płonka | Soprano | Aida |
| Krzysztof Bączyk | Bass | King of Egypt |
| Alexander Köpeczi | Bass | Ramfis |
| Margarita Polonskaya | Soprano | Priestess |
| Manase Latu | Tenor | A messenger |
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, Radames. Yet it is proud Amneris who begs the priests to pardon Radames 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.
Reviews of Aida directed by Shirin Neshat
