Monte-Carlo Opera stages one of the most popular operas in the repertoire – Giuseppe Verdi’s Aïda.
This production of the Rome Opera House stars coloratura soprano Anna Pirozzi in the title role, Arsen Soghomonyanas Radamès, the man she loves, mezzo-soprano Marie-Nicole Lemieux as Amneris who is also in love with Radamès, bass Antonio Di Matteo as the King of Egypt, and baritone Artur Rucinski as King Amonasro of Ethiopia. Massimo Zanetti conducts and direction is by Davide Livermore.
This melodramma in four acts was written by Verdi as the result of a commission in 1869 by the Khediv of Egypt, to celebrate the opening of the Khedivial Opera House in Cairo. The libretto was written by Antonio Ghislanzoni, based on a scenario by François Auguste Ferdinand Mariette reworked by Camille du Locle. Set in a pseudo-historic vision of Ancient Egypt, at the time of the conflict between the Egyptians and the Ethiopians, the opera was inspired by French archaeologist Auguste Mariette who provided the scenario that Verdi and his librettist Antonio Ghislanzoni adapted into Aïda.
The premiere was delayed because the scenery and costumes were unable to be delivered from Paris, due to the siege of the city in 1870-71, during the Franco-Prussian War, and it wasn’t until December 24, 1871, that the opera opened at the Khedival Opera House in Cairo.
Radamès, a captain of the Egyptian guard, is in love with the slave girl Aïda, who has been held captive in Egypt, and is really an Ethiopian princess. She is the daughter of King Amonasro of Ethiopia, the sworn enemy of the King of Egypt. Aïda’s mistress, Amneris is also in love with Radamès, and is consumed with jealousy when she discovers that her competitor in love is Aïda. It’s a tale of love, duplicity and, ultimately, tragedy, with Aïda torn between her love for Radamès and that for her country. After the war, Radamès, crowned in triumph and hailed as a national hero, hopes that he will finally be able to free to marry the young slave he loves.
The title role is taken by coloratura soprano Anna Pirozzi who has appeared in many of the world’s finest opera houses and whose recent performances include Santuzza in Mascagni’s Cavalleria Rusticana at Bayerische Staatsoper, where ConcertoNet described her as “Italy’s sensational dramatic soprano …. As soon as she starts, one is mesmerized, dumbfounded by the sheer power and command of her instrument”. She recently appeared in the title role of Ponchielli’s La Gioconda for Greek National Opera, and after her performance as Aïda she will return to the Royal Opera House, Covent Garden in the title role in Puccini’s Turandot.
The role of Radamès is sung by Arsen Soghomonyan. He made his debut as a tenor in March of 2017 as Cavaradossi in Puccini’s Tosca in Moscow, but prior to this, he was the leading baritone of the Stanislavsky Theatre. He has appeared in many of Europe’s most important theatres, and taken roles such as the title role in Verdi’s Otello with the Berlin Philharmonic and with the Bayerische Staatsoper in Munich, Canio in Mascagni’s Pagliacci at the Teatro di San Carlo in Napoli and as Cavaradossi in Puccini’s Tosca. His engagements for the current 2025/26 season include the title role in Otello at the Vienna State Opera and the Bayerische Staatsoper on Tour in Shanghai, in Tchaikovsky’s Pique Dame at the Opéra Royal de Wallonie-Liège and Puccini’s Il tabarro at Vienna State Opera.
Canadian mezzo-soprano Marie-Nicole Lemieux has appeared on some of the world’s most famous stages. She has also sung in concert with symphony orchestras such as the New York Philarmonic, Orchestre National de France, Deutsches Symphonie-Orchester Berlin, Orchestre de l’Accademia Santa Cecilia and the St Petersburg Philharmonic Orchestra. Recent engagements include Zia Principessa and Zita in Puccini’s Il trittico at the Theater an der Wien, Isabella in Rossini’s L’Italiana in Algeri and his Tancredi at Théâtre des Champs-Elysées, Suzuki in Puccini’s Madama Butterfly at Barcelona’s Liceu and at the Concertgebouw and Dalila in Saint-Saëns’ Samson et Dalila at l’Opéra de Montréal.
The Egyptian king, is sung by Antonio Di Matteo who has appeared in numerous festivals in Italy and abroad. Recently his engagements include the role of Cacciatore in Dvořák’s Rusalka at the Teatro di Sa Carlo, the High Priest of Baal in Verdi’s Nabucco in Rimini, and Il Commandatore in Mozart’s Don Giovanni in Modena, Piacenza and Lucca. He will appear as Riccardo Forth in Bellini’s I Puritani at the Metropolitan Opera and as Germont in Verdi’s La traviata at the Wiener Staatsoper.
King Amonasro is sung by Polish baritone Artur Rucinski. He has performed on many of the world’s most important opera houses and concert halls. The late music journalist Karl Löbl wrote of his Carmina Burana: “Baritone Discovery at Vienna Musikverein – take note of the name Artur Ruciński and go to every opera in which you can hear this singer…”. Most recently, he has sung in La Bohème at ABAO Olbe Bilbao and at Opéra Bastille, where he also debuted in Puccini’s Gianni Schicchi, Riccardo Forth in Verdi’s I Masnadieri at Palau de les Arts, in La traviata, Massenet’s Manon and La Bohème at the Metropolitan Opera, Iolanta at Palais Garnier and he has returned to Monte-Carlo Opera in Donizetti’s Lucia di Lammermoor.
Also in the cast are Erwin Schrott as Ramfis, Galia Bakalov as the Voice of the Priestess and Vincenzo di Nocera as the Messenger.
Sets are by Giò Forma, costumes by Gianluca Falaschi, lighting design is by Antonio Castro, videos by D-Wok and choreography by Davide Livermore and Carlo Massari.
Massimo Zanetto leads the Monte-Carlo Philharmonic Orchestra and the Chorus of the Monte-Carlo (Choirmaster Stefano Visconti) for three performances of Verdi’s Aïda from 16th to 22nd November at the Grimaldi Forum. Reservations may be made online.
CONTACT DETAILS
Grimaldi Forum
Salle des Princes
10 Av. Princesse Grâce
98000 Monaco
Tel: +377 99 99 20 00
Lead image and logo courtesy Opéra de Monte-Carlo
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