Patria o Amore - which one prevails? (Aida at Royal Opera House:rehearsal 22.09.2022)

Love for a country or love for a man? A difficult decision to make and which one will prevail? In romantic operas of the 19th century, these two topic can hardly coexist and often end tragically.

Aida is no different and it's certainly full of musical and ideological contrasts: on one hand, it's well known for its triumphant and pompous military marches and music for masses, on the other hand, it's an intimate love story of two people whos love is condemned from the beginning because they're torn between human love and love for their respective countries. These conflicts are reflected right from the beginning, in Aida's aria Ritorna Vincitor, where she wishes her lover Radames (the leader of the Egyptian army) to come back victorious from the battle against the Ethiopians even if it means conquering her own people. But then again, she does not want her family and country to be destroyed. So she realises it's impossible to be happy in such circumstances. Radames wants to win the battle for her, yet it would mean the death or slavery of her family. We know from that moment, that Aida and Radames will be tormented - and, if that wasn't enough, there is Amneris, the daughter of the Egyptian king who loves Radames, and whose jealousy ultimately drives her to cause Radames' death even if it means her own suffering.

Vocally and dramatically, the roles were performed with bravura: Elena Stikhina (Aida), whom we just saw in R. Strauss' Salome (on Saturday, 17.9. replacing indisposed Malin Byström) with utmost engagement, showed she's ready to take any challenging roles, and aria O Patria mia is certainly one of the most challenging. Her control and powerful voice filled the house when needed, yet respected every nuance when necessary. Francesco Meli's Radames was young, fresh and sound. The pressure on him was right from the beginning: Celeste Aida is a well known aria and everybody expects its impecable delivery. Francesco sang it with control and his voice travelled through the audience, the only thing I'm not sure of, was that he finished the aria with his head voice and not with full voice (as many would expect) - otherwise he treated us generously to his full-power voice.The role of Amneris is very important and powerful and Agnieszka Rehlis convinced us she was able to wear Amneris shoes with dignity and command. Both: Ludovic Tézier (singing Amonasro) and Soloman Howard (Ramfis) added very credible dramatic roles.

The simplistic, military scenes (mostly grey walls, seats or benches and a red carpet) created a rigid atmosphere but allowed the sound resonates through the whole house (and what a sound with those fortissimos it was!). The only things I was a little uncomfortable with (in this time when the war between Russia and Ukraine is still a big concern) were the war images, projected on the big canvas behind, and the Egyptians watching the military defile and performance (very much evoking Russians watching their military parade). Otherwise, it pretty much complied with the script and the situation. The military choreography performed during the long march was very effective and entertaining.

I had the privilege (and the pleasure) to observe Antonio Pappano directing this triumphant yet very intimate and personal opera from above and it was a moment of pure passion. He breathed every breath with the singers (from the first Radames' aria Celeste Aida) and he sang every note with the excellently prepared choir or orchestra. The big fortes and regularity of marches very beautifully contrasted with the exoticism of "Eastern culture" and the intimacy of the protagonists' thoughts and worries. This production without a doubt assembled one of the finest singers and performers for this grandiose opera.