| Verdi, Giuseppe (1813-1901) | Aida | Libretto by Antonio Ghislanzoni |
| Teatro Real | |||
| Nicola Luisotti | Conductor | ||
| Hugo de Ana | Director, Set Designer, Costume Designer | ||
| Coro Titular del Teatro Real | |||
| Orquesta Titular del Teatro Real | |||
| Violeta Urmana | Mezzo-soprano | Amneris | 2018 Mar 07, 10, 13, 16, 22, 25 |
| Ekaterina Semenchuk | Mezzo-soprano | Amneris | 2018 Mar 08, 11, 14, 17, 19, 21, 24 |
| Daniela Barcellona | Mezzo-soprano | Amneris | 2018 Mar 09, 15, 20, 23 |
| Liudmyla Monastyrska | Soprano | Aida | 2018 Mar 07, 10, 13, 16, 22, 25 |
| Anna Pirozzi | Soprano | Aida | 2018 Mar 08, 11, 14, 17, 19, 21, 24 |
| Lianna Haroutounian | Soprano | Aida | 2018 Mar 09, 15, 20, 23 |
| Gregory Kunde | Tenor | Radamès | 2018 Mar 07, 10, 13, 16, 22, 25 |
| Alfred Kim | Tenor | Radamès | 2018 Mar 08, 11, 14, 17, 19, 21, 24 |
| Fabio Sartori | Tenor | Radamès | 2018 Mar 09, 15, 20, 23 |
| Ambrogio Maestri | Baritone | Amonasro | 2018 Mar 07, 10, 13, 16, 22, 25 |
| George Gagnidze | Baritone | Amonasro | 2018 Mar 08, 11, 14, 17, 19, 21, 24 |
| Ángel Ódena | Baritone | Amonasro | 2018 Mar 09, 15, 20, 23 |
| Soloman Howard | Bass | King of Egypt | |
| Roberto Tagliavini | Bass | Ramfis | 2018 Mar 07, 09, 10, 13, 15, 16, 19, 22, 23, 25 |
| Rafał Siwek | Bass | Ramfis | 2018 Mar 08, 11, 14, 17, 20, 21, 24 |
| Sandra Pastrana | Soprano | Priestess | |
| Alejandro del Cerro | Tenor | A messenger |
In Aida, the grandiose and the intimate converge as in few other operas: the bloody confrontation between Ethiopians and Egyptians is juxtaposed by the love of Ramadés, Captain of the Egyptian Guard, for Aida, a slave of the Ethiopians. Their love is more powerful than the hatred between the two peoples, their social differences and incompatible perspectives. This love was as solid as the wall which blocked its consummation.
Verdi chose this story after rejecting several alternatives with comical or thematic plots to which he could have composed a grand opera. He became hugely involved with the writing of the libretto by Antonio Ghislanzoni, he had collaborated in the revision of La forza del destino. The success of the premiere in the opera house of Cairo, having opened two years previously, was sensational. As part of the Bicentennial celebrations, the Teatro Real pays tribute to its past by recouping part of the scenery of the 1998 production from its repository. Acclaimed at that time, the technical and material complexities have made it impossible to revive until now. Aida returns to the Teatro Real.
Production by the Teatro Real, in co-production with the Lyric Opera de Chicago and Teatro Colón of Buenos Aires