Metropolitan Opera: New Splendor for Aida

With his new production of Verdi's classic "Aida", director Michael Mayer has cast the venerable Metropolitan Opera in New York in a new light. The fresh approach replaces the static 1988 production by Sonja Frisell with a refined and lively perspective that pulls the audience out of its comfort zone. Instead of a simple historical piece, Mayer creates a vibrant artwork that addresses both the timeless tragedy of the opera and the colonial history through which this legacy arrived in the West. An innovative element of the performance is the opening with an early 20th-century archaeologist who discovers Aida's treasures, thereby bringing the story to life. The costumes combine ancient with Art Deco styles, making the production visually appealing. Choreographer Oleg Glushkov, in his first engagement at the Met, adds depth to the work with elegant and astute movements. A particularly remarkable moment is the transformation of the Triumph March: instead of the usual processions, a parade of archaeologists plundering ancient treasures is staged. Musically, the first-class cast is convincing. Angel Blue shines in the title role, while Piotr Beczała as Radamès and Judit Kutasi as Amneris excel. They are complemented by Morris Robinson as the King and Quinn Kelsey in the role of Amonasro. Yannick Nézet-Séguin, the music director, conducts the performance with customary precision. On the premiere night, all singers impressed with expressive performances, although Beczała faced some challenges due to a cold. While his lower range remained solid, his voice showed weaknesses in higher registers. Nevertheless, he managed to convey energy and character convincingly by the end. Blue and Kutasi impressed as a powerful pair of antagonists. Blue shone with gentle yet expressive singing, particularly in the aria "Ritorna vincitor!", which compellingly portrayed the character's inner turmoil. Kutasi's vocal richness and emotional depth, especially in the final scene, practically swept the audience away.