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PRODID:www.oper-in-berlin.de
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UID:69dc47ddde368
DTSTART:20260323T193000
SEQUENCE:0
TRANSP:OPAQUE
DTEND:20260323T213000
LOCATION:Deutsche Oper Berlin\, Berlin
SUMMARY:Aida
CLASS:PUBLIC
DESCRIPTION:In Benedikt von Peter's production\, exotic Egypt is only prese
 nt as a dream world on the postcard. In his interpretation\, which encompa
 sses the entire auditorium\, he focuses entirely on Radames's conflict bet
 ween his sobering everyday life and his longing for a dream woman... Condu
 ctor: Carlo Montanaro\; Director: Benedikt von Peter\; With Yulia Matochki
 na / Judit Kutasi\, N. N. / Christina Nilsson\, Alfred Kim / SeokJong Baek
  and others.\n About the work “Amore\, sommissione\, dolcezza” – the
  traits that Giuseppe Verdi gave his eponymous heroine\, Aida\, who embodi
 es pure love\, tenderness and submissiveness. And these characteristics pu
 t her firmly in the tradition of 19th-century female protagonists who were
  not so much fully rounded personalities as sex objects and a focus for ma
 le fantasies\, women whose inevitable fate was to die of a broken heart. A
 nd Aida is no different.\n\nBut in a departure from Verdi’s earlier oper
 as AIDA offers a different model to that of the doomed love affair\, and i
 t comes in the form of Amneris\, whom Verdi describes as “molto vivacit
 à” in his list of protagonists. Amneris seethes with life energy\, aggr
 essively defending her love. She is a woman who could hold down a relation
 ship.\n\nRadames\, on the other hand\, the man caught between Aida and Amn
 eris\, cannot commit to the real world. He builds Aida up in his mind\, tr
 ansfixed by the aloof\, “exotic” woman. In love with his image of an a
 ngelic figure\, Radames dreams of struggling heroically against misery and
  repression. Radames stages his heroic acts in the full glare of publicity
 \, while wincing at his own failure to reconcile utopic love with a politi
 cal utopia - because the object of his desire is doomed anyway and the res
 cue of POWs and the downtrodden is not only futile but also linked to the 
 use of violence.\n\nSo\, we have an unrealistic hero\, plagued by his own 
 angst\, as the linchpin of an opera that is arguably Giuseppe Verdi’s mo
 st pessimistic\, ending as it does with Radames abdicating from life and w
 ithdrawing into a granite mausoleum. Aida’s death also represents the en
 d of the utopia.\n\nAbout the productionWith this in mind\, director Bened
 ikt von Peter sees Verdi’s grand opéra as a “requiem to utopia”\, a
  work that never escapes the gaze of the public\, and the action of his AI
 DA extends to all corners of the auditorium. As in other productions of hi
 s\, von Peter opens up the opera house’s musical architecture\, spreadin
 g it the length and breadth of the auditorium. It’s a musical structure 
 that ranges from full-throated choruses of a nation at war to the fragile 
 theme of the work: the loneliness of Radames\, Amneris and Aida. The three
  protagonists act and react on the proscenium flanked by two corpuses: the
  orchestra on the main stage and the opera chorus placed amongst the audie
 nce. The public\, then\, sitting in the midst of the music\, are getting a
  close-up experience of Verdi’s score.
DTSTAMP:20260413T013317Z
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