Critics Say


For Parents


Great cast, gorgeous singing

By old_geek_dude
Written August 29, 2015
Where has Liudmilla Monastyrska been? She is WONDERFUL! What a voice. I want to see her again -- often. And I have to admit that I had my doubts about Roberto Alagna as Radames, but he was magnificent also. If they hadn't started scheduling the Live in HD broadcasts so late in the operas' run (most likely because they're afraid of canibalizing ticket sales in the house), I would travel to New York to see it in person (and pay the $250-380 a seat to get close). And I've seen (and paid for) Aida at the Met before, and I'd still go after seeing this performance.
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A Star is Born

By Lightly-Cooked POV
Written March 02, 2015
Liudmyla Monastryrska (Aida), new to the Met, is an amazing soprano and actress--a rising star. This opulent production is the best I've seen, and truly does Verdi's tragic spectacle justice. In addition to fine performances, beautiful costumes, sets and staging, the choreography and dancing was delightful. It entertains at every level, and yet is profoundly moving. Aida is a must see, so catch its Encore performance.
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By Broadway_gal
Written April 27, 2015
Outstanding score (of course, it's Verdi) and singing (the top tier of today's opera world). In addition, you get a wonderful behind-the-scenes looks at the production, and the scenery for this Egyptian epic is incredible--huge columns, replicas of Egyptian pharaohs, underground tombs. If you have ever thought of seeing an opera, this is the one to see.
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By silveropera
Written August 05, 2015
Thoroughly enjoyed the opera (The Metropolitan Opera Live HD). If anyone is an opera lover this is the way to go. It is reasonable and the view cannot be beat. I have been going to these live in HD performances for about 3 years. Cannot miss with this option.
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Verdi's Aida portrays the corruption of absolute powerlessness

By starlove
Written March 31, 2015
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.
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