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Teatro Real: Aida
October 18 & 20 & 23
Teatro Real: Aida(2018)
In Aida, the grandiose and the intimate converge as in few other operas: the bloody confrontation between Ethiopians and Egyptians is juxtaposed by the love of Radamès, Captain of the Egyptian Guard, for Aida, a slave of the Ethiopians. Their love is more powerful than the hatred between the two peoples, their social differences and incompatible perspectives. This love was as solid as the wall which blocked its consummation.
Verdi chose this story after rejecting several alternatives with comical or thematic plots to which he could have composed a grand opera. He became hugely involved with the writing of the libretto by Antonio Ghislanzoni, he had collaborated in the revision of La forza del destino. The success of the premiere in the opera house of Cairo, having opened two years previously, was sensational. As part of the Bicentennial celebrations, the Teatro Real pays tribute to its past by recouping part of the scenery of the 1998 production from its repository. Acclaimed at that time, the technical and material complexities have made it impossible to revive until now. Aida returns to the Teatro Real.


Conductor Nicola Luisotti
Director Hugo de Ana
Sets and costumes Hugo de Ana
Lightning Vinicio Cheli
Choreography Leda Lojodice
Chorus Master Andrés Máspero


The King Soloman Howard
Amneris Violeta Urmana
Aida LiudmylaMonastyrska
Radamès Gregory Kunde
Ramfis Roberto Tagliavini
Amonasro George Gagnidze
High Priestess Sandra Pastrana
A messenger Fabián Lara

Produced by Teatro Real, in co-production with the Opera Lyric of Chicago and the Municipal Theater of Santiago de Chile.
Chorus and Orchestra of Teatro Real.

Recorded March 2018
From Teatro Real, Madrid

Approximately 2h35 with two intermissions.

Libretto by Antonio Ghislanzoni, based on the play Camille du Locle by Auguste Mariette.

Opera in 4 acts
Sung in Italian with English subtitles.

Opéra Royal de Wallonie: Norma
November 8 & 10 & 13
Opéra Royal de Wallonie: Norma(2018)
Bellini's most famous work experienced a chaotic process of creation, suffering from cabals and jealousy. Nonetheless, "Norma" has gained renown thanks to the extremely high quality of its music and the flourishing bel canto that makes its vocal momentums and melodies the most appealing but also the most difficult. Whilst the famous Casta diva, the opening aria of Norma, has alone become a symbol of Italian opera, the many cavatina and cabaletta sprinkled throughout the score demand a rare amount of power, vocal range, suppleness and agility from the characters, such virtuosity guaranteeing thrills and a deeply moving work! This new production by the Opéra Royal de Wallonie-Liège will be one of the most unmissable events of the season.

Conductor Massimo Zanetti
Director Davide Garattini Raimondi
Sets and lightning Paolo Vitale
Costumes Giada Masi
Chorus Master Pierre Iodice

Norma Patrizia Ciofi
Adalgisa Josè Maria Lo Monaco
Pollione Gregory Kunde
Oroveso Andrea Concetti
Clotilde Réjane Soldano
Flavio Zeno Popescu

Opéra Royal de Wallonie-Liège
Chorus and Orchestra of Opéra Royal de Wallonie-Liège

Opéra national de Paris: Boris Godounov
December 13 & 15 & 18
Opéra national de Paris: Boris Godounov(2018)
Opera in a prologue & 3 acts
Sung in Russian with English subtitles
Libretto by Modeste Moussorgski

Opéra national de Paris
Recorded June, 2018 at 8pm Paris time

Approximate Running Time: 2h10. No intermission

“Living power is unbearable for the people. They can love only the dead.” - Boris, Boris Godounov, Alexandre Pushkin

In 1824, when Pushkin turned to Boris Godounov for his first historical drama, he knew well the colossus he was tackling. Armed with his reading of Shakespeare, Pushkin retold the epic history of the dazzling reign of the Tzar of Russia (1598-1605). Indeed, elements of Macbeth appear throughout this political fable, in which an imposter with ambitions for the throne haunts Boris, pretending to return as the child that Boris had once killed in order to seize power. Adapting this epic poem, Mussorgsky composed a meditation on the solitude of power, a populist drama in which the real protagonist is the Russian people with its burden of eternal suffering.

Ivo Van Hove is no stranger to grand political frescos, having previously staged Tragédies Romaines and Kings of War, both based on plays by Shakespeare. This is his first production for the Paris Opera.

The production stars Ildar Abdrazakov, “one of the most sought-after young basses in the operatic world” (Vanity Fair) and “one of the most exciting Russian singers to emerge on the international scene in the past decade” (Opera News).

Conductor Vladimir Jurowski
Director Ivo Van Hove
Sets & Lighting Design Jan Versweyveld
Costume Design An D’Huys
Dramaturgy Jan Vandenhouwe
Chorus Master José Luis Basso
Orchestra & Chorus of Opéra national de Paris

Boris Godounov Ildar Abdrazakov
Fiodor Evdokia Malevskaya
Xenia Ruzan Mantashyan
La nourrice Alexandra Durseneva
Le prince Chouiski Maxim Paster
Andrei Chtchelkalov Boris Pinkhasovich
Pimen Ain Anger
Grigori Otrepiev Dmitry Golovin
Vaarlam Evgeny Nikitin
L'aubergiste Elena Manistina
L'innocent Vasily Efimov
Mitioukha Mikhail Timoshenko
Police Officer Maxim Mikhailov
A boyar, voice in crowd Francisco Simonet
Misail Peter Bronder