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Video streamed event and on demand: AidaNueva producción

Ver on-line en play.operadeparis.frOpéra national de ParisGrabado en Opéra national de Paris: Opéra Bastille, París, Francia
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Dates/times in your browser's time zone
viernes 10 octubre 202519:30
On demand from viernes 10 octubre 2025 19:30
to lunes 31 agosto 2026 23:59
Programa
Verdi, Giuseppe (1813-1901)AidaLibreto de Antonio Ghislanzoni
Intérpretes
Opéra national de Paris
Michele MariottiDirección
Shirin NeshatDirección de escena
Christian SchmidtDiseño de escena
Tatyana van WalsumDiseño de vestuario
Felice RossDiseño de iluminación
Orchestre de l'Opéra national de Paris
Yvonne GebauerDramaturgia
Dustin KleinCoreografía
Chœurs de l'Opéra national de Paris
Ching-Lien WuDirección de coro
Ève-Maud HubeauxMezzosopranoAmneris
Judit KutasiMezzosopranoAmneris
Piotr BeczałaTenorRadamès
Gregory KundeTenorRadamès
Roman BurdenkoBarítonoAmonasro
Amartuvshin EnkhbatBarítonoAmonasro
Saioa HernándezSopranoAida
Ewa PłonkaSopranoAida
Krzysztof BączykBajoKing of Egypt
Alexander KöpecziBajoRamfis
Margarita PolonskayaSopranoPriestess
Manase LatuTenorA 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.

Críticas de Aida dirigida por Shirin Neshat

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