Written September 16, 2014
The MET's superb portrayal of a powerful figure, Princess Amneris, daughter of the King of Egypt, is a vivid illustration of Lord Acton's dictum, "Power corrupts and absolute power corrupts absolutely." Yet what is demonstrated by the opera, just as effectively, is the dialectical opposite of Acton's observation. The late H. Richard Niebuhr, Yale Professor of Theology and Ethics, offered this rejoinder, "Powerlessness also corrupts, and absolute powerlessness corrupts absolutely." Aida's father Amonasro, King of Ethiopia, sensing his powerlessness in confrontation with Egypt's power, pleads with his daughter to find out from Radames the route the Egyptian army will take as it invades Ethiopia. Finally Aida acquiesces, out of a sense of loyalty to her country, even though she knows that will betray Radames, whom she loves so deeply. Amonasro's absolute powerlessness had corrupted him absolutely. The tragedy is set in motion, with heightened anxiety.
Written December 17, 2012
I had been wanting to try movie-theater opera and decided on Aida because it has great music and is, well, just a good show generally speaking. This was an excellent performance musically, especially the orchestra, the Aida, the Amneris, and the Amonasro. I liked very much the close- up's and the management of the cameras. The backstage shots, the interviews (including the charming conductor and trumpeter as well as the animal trainer), were simply quite nice to hear and to see. I will do this again definitely. It's a nice alternative to live performance and, in some ways, excels it. Plus it reminds me of the old Met broadcasts sponsored by Texaco. Thanks for a good time.
Written December 16, 2012
Wonderful except you could hear loud booming and base sounds from the theatre next to where Aida was being shown. Very distracting during the prelude. Denver , 500 16th St . AMC.
Written January 29, 2015
Both women superb as well as Aida's father. Roberto Alagna was so so. Magnifient production.
Written August 22, 2014
Excellent production. Olga stronger than Ludmilla. Alagna strong but often unconnected to the object of his singing. Enjoyed this immensely.