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Aida ouvre la saison du centenaire de l'Opéra à Nancy. Une prise de rôle éblouissante par Michelle Bradley dans le rôle-titre.

Loin de toute la monumentalité qui a pu rendre indigestes les belles mélopées et accents verdiens, souvent cantonnées aux grandes pompes et à un logos lourdement orientaliste, cet opéra à l’écriture pourtant raffinée, et à la profondeur mésestimée, méritait une telle relecture.

Pour l’ouverture de la saison du Teatro Regio de Turin portait à l’affiche le très célèbre Aïda de Giuseppe Verdi. Le montage du chef-d’œuvre amenait une collaboration inédite avec le Museo Egizio de la ville, considéré comme l’une des collections archéologiques égyptiennes les plus riches du monde après le Musée du Caire.

Mit Mut und jahrelanger Erfahrung stemmt die Wiener Staatsoper das Antiken-Spektatkel erfolgreich auf die Bühne.

Opera North's Aida, directed by Annabel Arden and conducted by Sir Richard Armstrong in Leeds Town Hall, is a welcome radical interpretation in the spirit of the times. 

Stefano Mazzonis di Pralafera's staging for Opéra Royal de Wallonie-Liège is stolid in direction, but Speranza Scappucci breathes life into Verdi's drama from the pit. 

This revival of the Met's 30-year-old production of Aida had a disappointing debut in the title role but Dolora Zajick's reign as Amneris is still a force of nature.

Michael Barker-Caven sets Aida in a 21st-century war zone in the Middle-East, allowing the audience to focus on the human drama.

Carè, Katzarava and Treichl give committed performances in a reprise of Cavanagh’s production.

Kurioser als die Oper selbst: Belyakin rettet die Aufführung, musicAeterna den ägyptischen Pomp und Schrecken und drei Solisten die Theatralik.

Netrebko met the audience’s high expectations, as she does every time, conquering the challenges with her remarkable artistry. 

Davide Livermore's digital set for Opera Australia's new production of Aida ushers in a new type of staging to the Sydney Opera House, and backs up a stellar performance from Amber Wagner in the title role.

You feel you ought not to approve of such directorial extravagance, but catch yourself being drawn into the grand pageant. 

Francesca Zambello's hip-hop graffiti staging of Aida comes to Seattle. 

In a disappointing revival of Hugo de Ana's clichéd and clumsy production, Liudmyla Monastyrska and Violeta Urmana confronted each other with their superb vocal techniques and diverging styles.

The remarkable performance of young soprano Christina Nilsson does not completely rescue a mixed-bag cast and a lack of Personenregie at the Stockholm Royal Opera.

Seis años después de una discutida producción, Aida de Verdi volvió al Municipal de Santiago en una magistral producción de Hugo de Ana, que se benefició de un excelente trabajo vocal, coral y orquestal.

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

Francesca Zambello’s engaging Aida opened the season at Washington National Opera, eventually getting into its stride. 

Muti's reading of the score is extraordinary, both for its sophistication and originality.

Orientalische Sujets spielen in der Musikgeschichte schon seit dem Barock eine Rolle. Die Münchner Symphoniker präsentierten die Orientbegeisterung der Komponisten in einem spannenden Programm im Münchner Brunnenhof.

A night of Egyptian musical and scenic splendour.

The Metropolitan Opera’s now 29-year old production of Aida is still standing and still looking good. Gianni Quaranta’s gigantic sets – floor-to-sky-statuary, regal-looking staircases, a couple of horses, wise/exciting use of the stage elevator to change scenes (causing, unfortunately, a glitch the other night which delayed the final scene for a few minutes), costumes (by Dada Saligeri) mostly of

San Francisco Opera's Aida features exciting role debuts from Leah Crocetto and Brian Jagde and a visually striking production, but a lack of good direction keeps it from being great music drama.

Unter einem Macht und Ohnmacht evozierenden Orchesterklang gelingt dem Schweizer Regisseur Roger Vontobel eine Gesellschaftsanalyse, die in ihrer feinsinnigen Bildwelt aktueller scheint denn je. 

The return of the Met's Aida was a joyous celebration of the art form with excellent singers and orchestra doing what they do best against the backdrop of a traditional but effective staging.

Known for her powerful interpretations of the blockbuster Italian mezzo roles, the great Hungarian diva Ildikó Komlósi dominates the new production of Aida in Budapest.

Bei einer Inszenierung, die nicht für jeden aufgeht, bietet diese Produktion viel Freude für die Ohren.

Giuseppe Verdis Aida hält alles bereit, was man für eine bombastische Operninszenierung braucht. Doch was, wenn man einfach auf den ganzen Pomp verzichtet und eine ganz schlichte Inszenierung wählt?

Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.

Director Tatjana Gürbaca’s production of Aida in Zurich strictly underscores the psyche and emotional parrying of the principals.

Camels, fireworks, and a gigantic head of Nefertiti: the Sydney Harbour production of Aida is not short on spectacle. Among the cast, Latonia Moore is outstanding in the title role, with good support from Miljana Nikolic as Amneris and Michael Honeyman as Amonasro.

With elegant sets and superlative musicianship, Verdi came to life in the House where he is revered most. This musical feast will have us licking our lips for some time yet.

Verdi’s Aida has been performed over 1,000 times at the Metropolitan Opera, making it the most commonly revived work after Puccini’s La bohème. Because Aida is so regularly programmed, I usually walk rather than run to see this opera.

La production de La Fura dels Baus allie familier et détails modernes dans une mise en scène intelligente d'une grande puissance. Les Arènes ont apprécié cette édition centenaire l'an dernier, et on se demande si ce n'est pas cette production qui y sera bientôt célébrée.

Cirque du Soleil producer Franco Dragone's new Aida for the Teatro di San Carlo in Naples aimed to scrub off all the bombast from this triumphalistic work. The eccentricities of the production led to a poor-quality outcome, though there was some fine singing.

Under the artistic and musical direction of Olivier Py and Philippe Jordan, Verdi’s opera has ignited a veritable storm of both fervent criticism and ardent defence.

A note in the programme honestly records the trepidation Opéra de Baugé felt in taking on Verdi’s Aida, a tougher prospect than the other operas with which it’s in rep, Donizetti’s L’elisir d’amore and Johann Strauss II’s Die Fledermaus.

Aida typifies all that is grand about opera. Its exotic setting, majestic music, and dramatic love triangle can make for an evening unique among performing arts events. It’s not a bad way to close an opera season either. San Diego Opera did so on Saturday, capping a uniformly satisfying season with Zandra Rhodes’ vibrant production that was refreshing and at times thrilling.

You won’t see plumed horses, a procession of camels, or a hundred supernumeraries as standard bearers parading across the Glimmerglass stage. In fact, you have to step outside the Alice Busch Opera Theater to see any elephants at all, the animal most commonly associated with Aida, Verdi’s greatest grand opera.

Virtually every reviewer of Aida mentions elephants, generally only to note their absence: the elephant not in the room, as it were. Like most others, the current Opera Australia production was lacking in pachyderms, but few of last night’s audience will have felt short-changed.

In our youth, my brother and I adored Cecil B. DeMille’s epic film The Ten Commandments. Not only did we like the well-written and brilliant take on the beloved biblical story of Moses, but we were also fascinated by the lavish sets and historical aspects of the film.

Attendees of last night's Aida may have been concerned that they would be seeing a stand-in soprano, with the Ukranian Liudmyla Monastyrska making her Covent Garden debut. They needn't have worried. Monastyrska gave a world class performance with great vocal control and huge power.

Read our review of Gianni Quaranta's production of Verdi­'s Aida in its 2009 broadcast from the Met Opera in New York.