AIDA: A Concert Report

MUS 48, section 01

Rebecca Skolnick
Hofstra University
December 15th, 2016

Conductor
Marco Armiliato

Principals
Ramfis………………………………………………………………………...Dmitry Belosselskiy
Radamès…………………………………………………………………………….....Marco Berti
Amneris……………………………………………………………………….Ekaterina Gubanova
Aida………………………………………………………………………Liudmyla Monastyrska
The King…………………………………………………………………………Solomon Howard
A Messenger……………………………………………………………………….Eduardo Valdes
A Priestess…………………………………………………………………………..Jennifer Check
Amonasro……………………………………………………………………………Mark Delavan

Solo Dancers
Navarra Novy-Williams
Bradley Shelver
 Opera brings to stories to life, and fantasy worlds others can only dream of. During the

Metropolitan Opera’s 2016–2017 seasons Giuseppe Verdi’s famous opera Aida was performed.

Through Aida and the Met’s wonderful space, the ancient world of Egypt and the love story

between main characters Radamès and Aida is laid out for the audience’s viewing pleasure.

Huge sets created an otherworldly feel that transported the audience, and despite some very flat

notes in Act 1, the matinee performance was vocally and visually stunning.

Written by Giuseppe Verdi with librettist Antonio Ghislanzoni, Aida opened on 24

December 1871 in Cairo, Egypt. Aida tells the story of a captured Nubian princess (Aida) who is

enslaved to the Egyptians and in love with Radamès. Radamès is an Egyptian military

commander who is torn between his love for Aida, and his loyalty to his Pharaoh. To further

complicate the story, the Pharaoh’s daughter Amneris is in love with Radamès, and wishes

(unsuccessfully) for his love in return.

Although there was incredible singing throughout the four acts, Act 1 had a rough

beginning with the tenor playing Radamès (Marco Berti) starting off being quite flat. While he

did recover gracefully and eventually sounded wonderful, his first couple of recitatives and arias

were borderline painful. In those first songs, as Berti sings of his love for Aida and his torn

feelings regarding his task of leading an army to defeat her people, his off-key singing made it

hard for one to fully immerse themselves into the story. Although, it is possible Berti was sick,

and to an untrained ear he was not terrible, opera can be a hard genre to get into and like a good

essay, if the hook is not there, people do not want to keep reading/watching.

Aside from the vocals, one of the more spectacular aspects of Aida was the dancing in

Act 2. Full dance numbers including a breathtaking ballet scene were incorporated into the

beginning and end of Act 2 along with triumphant music, horses, and a complete air of
celebration. One of the most memorable dances, was this contemporary piece between two

dancers (one male, one female). The dance was a love story, and was captivating. So clear was

the chemistry and their synchronized movements with the music, that after the dance was

finished many people in the audience sat in silence awe for moments not willing to let the

moment die. Plot wise, the dancing is present because the Egyptians are celebrating their victory

over Ethiopia (Aida’s homeland) in their ongoing war. Many times, people associate opera with

only singing, but having a large jam-packed ensemble number was a nice, welcome juxtaposition

to the slower beginning.

Act 2 also moved the story along very well, as it brought to the forefront the love triangle

expanding between Amneris, Radamès, and Aida. While awaiting Radamès’ return from war,

Amneris tricks Aida into revealing her love for Radamès; she tells Aida that Radamès was killed

in battle. When Amneris sees how devastated Aida is, she knows for certain Aida is in love.

Unbeknownst to anyone, as a reward for his triumphs in battle, the Pharaoh gifts Amneris to

Radamès as his wife. Obviously this is terrible news to Aida and Radamès as they are

desperately in love with one another.

The pivotal moment of Aida was in Act 4 when Radamès was sentenced to being buried

alive after being mistakenly labeled a traitor. In helping Aida and her father (the King of

Ethiopia) flee, he accidently gives out some of the Egyptians battle routes. Radamès did not

know who Aida’s father was, but as a result, the priests sentence him to being buried alive.

Although Aida and her father have escaped, Aida returns to Radamès tomb as he awaits his death

to be with her love. The two sing together La fatal pietra sovra me si chiuse–O terra addio||The

fatal stone above me is closed–O earth goodbye||. The song is their swan song to the world as

they accept their fate and imminent death. The lyrics and musicality in that one goodbye is
exquisite, and there was not a dry eye in the house. When coupled with the dual staging of the

death scene below in the tomb, and Amneris above in the temple praying for Radamès, the

ending of Aida is so beautifully tragic that the viewer can’t help but get emotional for the true

love that could never be.

Aida was outstanding, not only in its music and libretto, but in its musicality and

incredible story captivating qualities. The acts move at a pace that is easy for the viewer to

remain attentive and engaged, and the grand sets are large enough that even sitting in the last row

of the house, they are clearly visible. Aida is an opera that is timeless and accessible to all ages;

there is something there for everyone.