Aida 1913, Arena di Verona

Verdi’s Aida has been captivating audiences since its 1871 premiere, but nowhere is it more iconic than in Verona, where the opera first opened the Arena Opera Festival in 1913. Over a century later, Aida 1913 returns to the Arena di Verona in a revival of that original staging, grand, majestic, and deeply tied to the festival’s history. This is not just another performance; it is a reimagining of the spectacle that gave birth to open-air opera in Verona, and it feels every bit as monumental as that legacy suggests.

The scale of this production is staggering, made even more impressive by the Arena’s ancient Roman grandeur. Giant mirror panels, lavish costumes, and sweeping choreography combine with Paolo Mazzon’s atmospheric lighting to evoke a world of imperial splendour and inner turmoil. The historic setting under the open sky, alongside a roaring crowd, makes for a truly unforgettable night at the opera.

Musically, the production is in capable hands with conductor Daniel Oren at the helm. His command of Verdi’s lush and dramatic score is evident throughout, drawing detailed and passionate playing from the orchestra. The famous Triumphal March, in particular, is a thrilling high point, full of pomp, yet still emotionally anchored.

In the cast, it is Ekaterina Semenchuk as Amneris who truly steals the show. Her mezzo-soprano voice is both commanding and nuanced, and she captures every layer of Amneris’ rage, jealousy, and heartbreak. Gregory Kunde’s Radamès is robust and secure, his tenor ringing out confidently across the vast space. Elena Stikhina’s Aida brings sincerity and tenderness to the title role, especially moving in her final scenes with Radamès. However, chemistry between the leads at times feels slightly muted, with individual performances occasionally more compelling than their interactions.

Youngjun Park is a strong Amonasro, bringing gravitas to the role, while Francesca Maionchi and Carlo Bosi give solid supporting performances. The massed chorus and dancers (under Susanna Egri’s choreography) add life and energy to the stage, especially in the spectacular second act.

Some directorial choices may puzzle traditionalists, certain scenes lack subtlety or feel overwrought, but the overall result is an epic experience that honours Verdi’s masterpiece and the Arena’s legacy.

Photo credit: Opera Review.