The MET's riveting portrayal of the jealousy of a powerful figure, Princess Amneris, daughter of the King of Egypt, is an apt illustration of Lord Acton's famous statement: "Power corrupts and absolute power corrupts absolutely."

But what is not recognized so readily is the truth of the dialectical opposite of Lord Acton's dictum. The late H. Richard Niebuhr, Yale Professor of Theology and Ethics, gave us a rejoinder to Lord Acton: "Powerlessness also corrupts, and absolute powerlessness corrupts absolutely." Aida's father, Amonasro, King of Ethiopia, sensing his powerlessness in the face of Egypt's power., asks his daughter, in Act III, to betray Radames by asking him to reveal the route the Egyptian army will take as it invades Ethiopia. She acquiesces, torn between her love for Radames and her love of her country. Amonasro"s absolute powerlessness corrupts him, and his daughter, absolutely. Thus is formed the basis of this magnificent, indeed very relevant opera. Superbly done!