Robert Carsen's Royal Opera Aida shines a spotlight on the modern military state

Angel Blue (Aida)
© ROH/Tristram Kenton

Sir Mark Elder (Conductor)

Robert Carsen (Director)

Oliver Platt (Associate Director)

Miriam Buether (Set Designer)

Annemarie Woods (Costume Designer)

Robert Carsen & Peter van Praet (Lighting Designers)

Rebecca Howell (Choreographer)

Duncan McLean (Video Designer)

Orchestra of the Royal Opera House

Sergey Levitin (Concert Master)

Royal Opera Chorus

William Spaulding (Chorus Director)

SeokJong Baek (Ramadès) & Angel Blue (Aida)
© ROH/Tristram Kenton

Angel Blue (Aida)

SeokJong Baek (Ramadès)

Elīna Garanča (Amneris)

Ludovic Tézier (Amonasro)

Soloman Howard (Ramfis)

James Platt (King of Egypt)

Andrés Presno (Messenger)

Francesca Chiejina (High Priestess)

Friday 5 May 2023

Royal Opera House, London

★★★★

Soloman Howard (Ramfis) & Elīna Garanča (Amneris)
© ROH/Tristram Kenton

'SeokJong Baek’s tenor blossomed and as his Radamès developed, as too did his interactions with Aida and Amneris'. 

'Angel Blue’s rich power was impressive throughout, cutting through even the thickest of orchestral textures without any hint of strain, as well as impressively controlling pianissimo moments at the top of her range'.

'But it was surely Elīna Garanča who stole the show as Amneris, progressing convincingly from steely pantomime baddy to unravelled torment by the end'. 

'The Royal Opera Chorus was on fine form, with some stunningly quiet singing from the lower voices, and great power when massed at full throttle'. 

Angel Blue (Aida) & Elīna Garanča (Amneris)
© ROH/Tristram Kenton

'Sir Mark Elder ... exploited Verdi’s rich score to the full, with subtlety from the woodwinds and some surprisingly quiet brass work, as well as showing us the orchestra’s full power and might'. 

Read my full review on Bachtrack here.

Aida, Act 2 Finale
© ROH/Tristram Kenton