The palace of the feelings takes place on the stage of the Opera – Verdis Aida

By on February 23, 2018
Markus Gårder

Aida is Giuseppe Verdi’s most magnificent opera but also his most intimate. Director Michael Cavanagh’s release, which premieres the Royal Opera tomorrow February 24, 2018, engages in today’s social development with war, political crises and internal conflicts. The main roles Aida and Radamès are made by two young singers who for the first time perform major roles on the Royal Operas big stage – Christina Nilsson and Ivan Defabiani.

Michael Cavanagh’s Aida could as well be a scene from today’s tragic war situations around the world, dystopian and decaying societies that affect every human being in warring countries.

There will be a reinterpretation of the work, unbound in time and space with focus on interpersonal relationships, a story that tells us how it is to be human beings of inner and outer pangs of conscience.

Aida is one of Verdi’s best intimate portraits. Thus, a triangular framework, where Radamès, Aida and Amneris are drawn between their strong private feelings and public obligations.

“The whole drama revolves around what the main characters are expected to do and what they then choose to do,” said Cavanagh, who is back at the Royal Opera after the success of Nixon in China.

Christina Nilsson is debuting as Aida on the big stage of the Royal Opera. She won the International Song Contest, Renata Voice Competition, in Italy last autumn. Ivan Defabiani was discovered as late as last autumn by Opera manager Birgitta Svendén when she was in Italian Parma when conductor Pier Giorgio Morandi advised her to visit Piacenza where Ivan participated in Verdis Simone Boccanegra, with Morandi at the desk. Amneris is sung by court singer Katarina Dalayman who celebrated triumphs as dramatic soprano, in Sweden and internationally, and most recently had great success in the character role of Klymtämnestra in the Royal Opera Electra.

– Aida never ceases to fascinate us, a love story that’s really impossible, but as the music throws us between hope and despair, the opera manager Birgitta Svendén summarizes.

Helena Olofsson, Culture & Music | Stockholm