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Organization

Singer

Soprano

Kristin Lewis

Aida

Anna Pirozzi

Mezzo-soprano

Anna Maria Chiuri

Amneris

Tenor

Marco Berti

Radames

Riccardo Massi

Baritone

Mark S. Doss

Amonasro

Dimitri Platanias

Bass

Giacomo Prestia

Ramfis

In Sung Sim

The King of Egypt

Conductor

Gianandrea Noseda

Stage director

William Friedkin

Set designer

Carlo Diappi

Costume designer

Lighting designer

Andrea Anfossi

Choreographer

Marc Ribaud

Anna Maria Bruzzese

Chorus master

Claudio Fenoglio

Teatro Regio di Torino

Orchestra

Orchestra del Teatro Regio di Torino

Turin

Italy

Teatro Regio

Aida Turin 2015 Lewis Rachvelishvili Berti

Originally commissioned to celebrate the completion of the Suez Canal and the opening of Cairo's new opera house, Verdi's Egyptian epic 'Aida' is here in a spectacular new staging, specially commissioned by Teatro Regio Torino to mark the reopening of the City of Turin's Egyptian Historical Museum to celebrate, which forms the world's largest collection of Egyptian artworks outside of Egypt. Under the musical direction of Gianandrea Noseda, "Aida" is authentically Egyptian in true Hollywood style by Oscar-winning American film director William Friedkin, creator of such famous films as "The Exorcist" and "The French Connection". .
Aida is perhaps best known for the sonic splendor of the famous Triumphal March, but the opera also thrives on the intimate tragic moments of the love triangle between the three protagonists: Radames, Egypt's victorious general, and the two rival princesses who love him, the daughter of the Pharaoh Amneris and her Ethiopian slave Aida. Among the top-notch cast, critics praised American soprano Kristin Lewis, who "displays a remarkable voice, captivating her with her powerful dramatic instinct" (La Stampa), and Georgian mezzo-soprano Anita Rachvelishvili, whose Amneris "set the stage with her dark, rounded, irresistible voice and her extraordinary stage presence dominates" (La Gazzetta Musicale). All found nothing but words of praise for Maestro Noseda: "He controls everything - orchestra, singers, choir, dancers, acrobats - with an all-encompassing overview" (La Stampa); "he knows exactly when is the right moment to linger on a timbre, a color, an expressive chord" (Corriere della Sera); "he draws from score colors of rare beauty and thus creates a magnificent tapestry of sound" (ResMusica); and particularly in the final scene: he resolves the expressive contrasts and vocal-instrumental system of dialogue with remarkable dramatic insight and orchestral refinement" (La Repubblica). (La Stampa); "he knows exactly when is the right moment to linger on a timbre, a color, an expressive chord" (Corriere della Sera); "he draws from score colors of rare beauty and thus creates a magnificent tapestry of sound" (ResMusica); and particularly in the final scene: he resolves the expressive contrasts and vocal-instrumental system of dialogue with remarkable dramatic insight and orchestral refinement" (La Repubblica). (La Stampa); "he knows exactly when is the right moment to linger on a timbre, a color, an expressive chord" (Corriere della Sera); "he draws from score colors of rare beauty and thus creates a magnificent tapestry of sound" (ResMusica); and particularly in the final scene: he resolves the expressive contrasts and vocal-instrumental system of dialogue with remarkable dramatic insight and orchestral refinement" (La Repubblica).

Aida Verdi

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