Watch Anja Harteros Record "O Patria Mia" For Warner Classics

"This magnificent recording of Aida, made in Rome, rises to all the musical and dramatic challenges presented by Verdi’s richly-coloured Egyptian epic. Antonio Pappano, once again proving his mastery of Italian opera, moves between sumptuous grandeur and touching intimacy. The responses of the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia are both immediate and vibrant, while the singers – Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk, Ludovic Tézier and Erwin Schrott – do justice to every facet of their roles." [Source] Watch Anja Harteros sing "O Patria Mia" from Aida, as well as more excerpts from the recording session along with interviews with the artists, after the jump.

Anna Netrebko And Yusif Eyvasov In Lebanon: The Full Concert

Diva Adorned: Kaftan and turban-clad (also covered in
Chopard jewels),  Anna Netrebko makes first appearance
in Lebanon. (Photo: Facebook)

On August 27, 2015, Anna Netrebko and Yusif Eyvasov took to the stage at the Beiteddine Art Festival in Lebanon to perform a concert full of arias and duets including works from Adriana Lecouvreur, Aida, Mefistofele, Otello, Madama Butterfly, La Traviata, Rusalka, La Bohème and more. Hear the full concert and see photos from the evening, after the jump. "The Beiteddine Festival is one of the leading festivals in the Middle East. It takes place in a large and magnificent 200-year old Palace in the Chouf Mountains, in Lebanon. The Palace is a jewel of Lebanese architecture with its many courtyards, monumental gates, elegant arcades and leveled galleries. Each year, in the months of July and August, the Festival presents outstanding performances by world famous stars and Lebanese artists. Concurrent with the performances, the Palace houses one or more international art exhibits. The Festival's first edition was launched in the summer of 1985 amidst the war. It came as an act of faith in Lebanon's cultural role and power of creativity, a call for normality amidst the chaos and madness of war. It was born and has grown in very difficult times and made it against all odds. As of 1987, when Nora Joumblat and an Executive Committee took over the organization of the Festival, it gradually gained regional and international recognition. Since 1997, a new step forward is recorded: the external courtyard of the Palace is fitted to host 5,000 persons. On the creative level, the Festival started producing its own performances, particularly Lebanese plays. The variety and the quality of the Festival's activities attract an ever-increasing audience (51,000 persons in 2003) in which the young generation is worthily represented The Festival is a non-profit organization." [Source]

"Aida" With Kaufmann And Harteros Gets 8-Month Lead Time Hype

Australian magazine Limelight discusses the most recent recording of Verdi's Aida for Warner Classics, featuring Jonas Kaufmann, Anja Harteros, Ekaterina Semenchuk, and Erwin Schrott under the baton of Antonio Pappano, due in October 2015. Those lucky enough to be in Rome can attend a concert on February 27 of the opera with the cast. Tickets available here. "Over the past two decades the number of studio recordings produced by the world’s biggest record labels of grand operas has dwindled. However a new studio recording of Verdi’s epic masterpiece Aida being produced by Warner Classics and featuring an all star cast proves that the tradition of recording large scale operatic works in the studio is still alive. What’s more, the new recording, due for release in October this year, will boast an authentically Italian provenance with conductor Sir Antonio Pappano at the helm. Pappano, who since 2005 has been Music Director of the Orchestra and Chorus of the Accademia Nazionale di Santa Cecilia, featured on this new recording, is a seasoned hand with Verdi repertoire. This will be the conductor’s second studio recording of a Verdi opera, after his 2002 release of Il Trovatore. His Warner Classics catalogue also contains an award-winning Santa Cecilia version of Verdi’s monumental Requiem. Pappano has assembled an extraordinary cast of similarly experienced Verdi performers, although two notable leads will be making their Aida debuts. In the title role, German soprano and former Cardiff Singer of the World champion

Anja Harteros has firmly established her Verdi credentials having appeared in productions of La traviata, Il trovatore, Simon Boccanegra, La forza del destino, Don Carlo and Otello. This will however be her first time performing the role of the Ethopian princess. Starring opposite Harteros will be superstar tenor Jonas Kaufmann, who is no stranger to Verdi’s heroic leads himself, although this too will be the tenor’s Aida debut in the role of the Egyptian warrior Radamès." [Source] Read the full article here. See an interview with Maestro Pappano, and a video of the recording session, after the jump.

At 61, Dolora Zajick Proves Still Explosive As Verdi's Amneris

(Photo: Lynn Lane)

"....volcanic-voiced American mezzo Dolora Zajick, the reigning international interpreter of Amneris, who could sing this role in her sleep. Her voice is one of the wonders of the world, sailing through, and over, Verdi's thick orchestral color to give real life to the Egyptian princess racked by jealousy. For this revival, thankfully, her costumes have been lightened by more of Rhodes's gauzy fabrics, so she no longer looks like a walking sarcophagus as she did at this production's premiere. Rich and plummy, her instrument is beautiful through all ranges, and she can float a pianissimo with seductive softness like no other. But it's her phenomenal agility and power-in-agility that have made her the leading Verdian mezzo. She is divine, if not out-of-this-world, rock solid and commanding. In the cluttered stage pictures, you always know where she is." [Source] More photos of Dolora Zajick in the Zandra Rhodes production of Aida at the Houston Grand Opera after the jump.

Voiceless Linda Ronstadt Recalls Early Opera Memories Of Childhood

In December 2012, Ronstadt was diagnosed with Parkinson's 
disease, which left her unable to sing. It was announced publicly
 in August 2013.

"Her deepest roots are musical. Ronstadt's paternal grandfather was a brass-band leader. Her father, a baritone, played her 78-rpm records of Grieg's Peer Gynt and the flamenco singer Pastora Pavón and took her to one of the few movies she saw as a child, Verdi's opera Aida. Her brother Peter was a boy soprano. Family singing, in a house with no TV until Ronstadt was in fifth grade, was the most readily available source of entertainment. It may also be the wellspring of her celebrated gift for harmonizing, exquisitely realized decades later in her three-part singing with Emmylou Harris and Dolly Parton and duets with the Cajun singer Ann Savoy. The strict Catholic school she attended turned Ronstadt off formal education. A natural autodidact, she became a voluminous reader, with interests that range from Victorian novels to architecture to politics. Even as she enrolled at the University of Arizona, Ronstadt knew it wasn't for long. She dropped out after a semester and headed for Los Angeles at 18 to seek her musical fortune."[Source]

Former Steel Worker Would Go Nude For Pittsburgh Opera "Aida"

"At 69 years old, heavier than he'd like to be, former steel worker Fred Rokasky knew he might not get one of the roles as the scantily clad, buff spear carriers for the Pittsburgh Opera's upcoming production of Verdi's famed ancient Egypt-based opera, Aida. 'You don't get to pick, so I'll probably be a [uniformed] soldier,' said Mr. Rokasky of Squirrel Hill, one of nearly 50 men who turned out Saturday at the Carnegie Museum of Natural History for the Pittsburgh Opera's open casting call for spear carriers, soldiers, priests, slaves, boatmen and litter carriers. Appropriately, the auditions were held in front of the museum's Walton Hall of Ancient Egypt. Still, Mr. Rokasky said, if they need him for one of those roles as a spear carrier -- who would have to appear in front of up to 3,800 opera fans for four shows at the Benedum Center in October wearing what amounts to a mere loincloth -- he is ready. 'It wouldn't bother me, standing there topless,' he said. 'I'm a nudist anyway. So being partially nude wouldn't bother me.' [Source] Optional casting photo after the jump.

Cairo Opera House Protest Causes Cancelled Aida Performance

"Disgruntled artists staged a protest on Tuesday outside the Cairo Opera House in Zamalek, condemning the culture minister's decision earlier in the day to sack head of the opera house, Ines Abdel-Dayem. With car-drivers honking in support, the artists chanted against the ministerial decision, as well as against the minister himself. Alaa Abdel-Aziz was appointed culture minister earlier this month as part of the cabinet reshuffle, and artists responded with concerns about the Brotherhood-affiliated minister. Later in the evening, the audience in the Main Hall of the Cairo Opera House, expecting to watch Verdi's Aida on its closing night, were taken by surprise when the curtains opened to reveal not a performance, but a protest. The

Verdi's "Aida" Hits Royal Albert Hall in London

"'Set amid the ruins of ancient Egypt,' promised the fliers. The impresario Raymond Gubbay has achieved many feats in his 45 years in showbiz but transporting the city of Thebes or the Temple of Vulcan to the Royal Albert Hall is not yet one. But he's had a darned good try in his latest opera-in-the-round blockbuster, Verdi's Aida, directed by Stephen Medcalf and designed by Isabella Bywater, which opened to a packed Royal Albert Hall last Thursday....In the first of three casts the Italianate-sounding American Marc Heller, making his UK operatic debut as Radames, was alone in seeing the point of vowels and consonants. He scaled 'Celeste Aida' with assurance and acted with the right kind of arms-akimbo gestures needed for this space. In the title role of the Ethiopian slave girl, Indra Thomas was sympathetic and looked magnificent but was off form vocally, struggling with top notes throughout. Claire Rutter and Catrin Aur, both strong performers, share the role for remaining performances. Some of the cameo roles were well taken and musical standards otherwise were high." [Source]

"Aida" Royal Opera House (1968): High Camp AND High Quality

Mary Elizabeth Williams Garners Major Success as Aida

Ethiopian Princess: Mary Elizabeth Williams

"And there was radiant soprano Mary Elizabeth Williams as Aida, who was probably the reason this company dared take on Aida in the first place. Williams is not actually an Aida; her voice is about two sizes too small for the part. She is, however, a consummate artist, who stood out with the company as Tosca (another ambitious assignment) in 2009, and who won more local attention as Adriana Lecouvreur at the Washington Concert Opera last fall. She has a soft bronze voice with a limpid quality, whether she is singing at her loudest or floating out a gentle little phrase that tamed the bombast of the big Act II ensemble. She is also a wonderful presence on stage, at once regal and human. As Aida, the Ethiopian princess captured by the Egyptians and enslaved to the princess Amneris, Williams seemed a true princess in disguise, whether she was going through the motions of a slave girl or standing up to Amneris and starting to snap at her that she was, indeed, her equal. She looked it, every inch." [Source]

Watch a brief video of the singer discussing Aida at the Virginia Opera, after the jump.

"Aida" Under Finzi Pasca's Big-Top Production at the Mariinsky

"A minimalist and deeply philosophical show is perhaps not quite what most people would expect from a production of Verdi’s Aida directed by a man who has made an international career producing shows for a circus. Yet this is exactly what Swiss-born director Daniele Finzi Pasca is offering audiences at the Mariinsky Theater Concert Hall....What links Aida with Finzi Pasca’s show Corteo, with which Cirque du Soleil toured Russia last year, is a sense of surreal fantasy. In Corteo, the audience watches a clown’s dream about his death and funeral that is magically transformed into a carnival. Aida is designed in the same ethereal aesthetic. Firstly, the director has cleansed the production of any visual element that would link it to a particular era or ethnicity. The costumes of both the Egyptians and the Nubians border in style somewhere between circus grotesque and futuristic minimalism....In terms of spirit, Pasca’s Aida is both humane and intimate. The director seemingly chose to make Amneris a central character. Yekaterina Semenchuk’s performance strengthens Pasca’s ideas. Head and shoulders above the rest of the cast, Semenchuk dazzled as the pharaoh’s daughter, tormented by her jealousy, engrossed by her sorrow, troubled by her tardy remorse and devastated by her sudden loneliness. Her stage partners failed to create as emotionally captivating incarnations of their characters. Yekaterina Shimanovich was technically adroit as Aida, yet she remained unsettlingly estranged from her supposedly beloved Radames (Avgust Amonov). It did not help that Amonov chose to present a somewhat anemic portrayal of his character, as if trying to depict someone who leaves it up to the women around him to decide his fate. Aida’s emotional connection to her father (Edem Umerov) was far more compelling. Umerov created a powerful image of Aida’s father, Amonasro, the King of Nubia, at once noble and passionate." [Source]

Read an extensive interview with Daniele Finzi Pasca about the production by clicking here.

Do Lavish Opera Productions Cause The Fall Of Empires?

"This is the story of how an over-extended empire sought to cope with an external debt crisis by selling off revenue streams to foreign investors. The empire that suffered these setbacks in the 1870s was the Ottoman empire. Today it is the United States. In the aftermath of the Crimean war, both the sultan in Constantinople and his Egyptian vassal, the khedive, had begun to accumulate huge domestic and foreign debts. Between 1855 and 1875, the Ottoman debt increased by a factor of

139th Anniversary of the "Aida" Premiere

Auguste Mariette (seated, far left) and Emperor Pedro II of Brazil (seated, far right) with others during the monarch's visit to the Giza Necropolis at the end of 1871.

Aida (an Arabic female name meaning "visitor" or "returning") is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette. Aida was first performed at the Khedivial Opera House in Cairo on December 24, 1871, conducted by Giovanni Bottesini.