AIDA, an Ethiopian princess, is captured and brought into slavery in Egypt. A military commander, Radamès, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, Radamès is loved by the Pharaoh's daughter Amneris, although he does not return her feelings. Sonja Frisell’s production captures all the grandeur and excitement of Verdi’s monumental opera, particularly the great triumphal scene where the Egyptian army, led by Radamès (Plácido Domingo), returns victorious from war. Aprile Millo is Aida, the slave girl whose love for Radamès has her squaring off with Amneris (Dolora Zajick), the Egyptian princess who also loves him. Sherrill Milnes is Amonasro, and James Levine leads The Metropolitan Opera Orchestra, Chorus, and Ballet.
Aida
Il Re dell'Egitto
Sacerdotessa
AIDA, an Ethiopian princess, is captured and brought into slavery in Egypt. A military commander, Radamès, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, Radamès is loved by the Pharaoh's daughter Amneris, although he does not return her feelings. Sonja Frisell’s production captures all the grandeur and excitement of Verdi’s monumental opera, particularly the great triumphal scene where the Egyptian army, led by Radamès (Plácido Domingo), returns victorious from war. Aprile Millo is Aida, the slave girl whose love for Radamès has her squaring off with Amneris (Dolora Zajick), the Egyptian princess who also loves him. Sherrill Milnes is Amonasro, and James Levine leads The Metropolitan Opera Orchestra, Chorus, and Ballet.
1989-10-06
5.929
Aida (1989) Metropolitan Opera. Verdi / Italian.
This was a 1988 revival of a 1971 production that teamed Domingo (Vasco da Gama) and Verrett (Selika - both then very much in their prime) in Meyerbeer's discursive swan-song. Seventeen years on, they are more statuesque than sexy, but both give larger-than-life performances that contain moments of completely thrilling vocalism. The casting is very strong, with the exception of Justino Diaz's Nelusko, which has strong presence but not much vocal allure. As Inez, Vasco da Gama's fiancee and rival for Shirley Verrett, Ruth Ann Swneson sings with great beauty and has impressive stage presence, very much holding her own in the confrontation with Verrett in the last act. Domingo is refulgent of tone and dramatically convincing, and he and Verrett strike sparks. She really comes into her own in one of the most preposterous mad-scenes in all opera, where she is slowly poisoned by the scent of a giant tree, contriving to make this dramatically truthful and even moving.
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