Exotic love triangle – new “Aida” at the Kraków Opera
When I think of “Aida”, Giuseppe Verdi’s opera, hailed as a masterpiece by critics right after its premiere, I immediately hear the triumphant march that crowns the grand finale in Act II. I picture a golden stage filled with a chorus of singers, pyramids rising in the background, with camels and elephants slowly parading before an astonished audience. Commissioned by the Khedive of Egypt, “Aida” belongs to the tradition of French grand opera, making it an inherently spectacular and demanding work. Since its world premiere in Cairo in 1871, it has remained a jewel in the repertoire of every prestigious opera house. The same holds true in Poland.
At the heart of the drama are the inner conflicts of the victorious Egyptian general, Radames, who is loved by two women: Amneris, the Pharaoh’s daughter, and Aida, the captive daughter of the Ethiopian king. While the storyline is relatively straightforward, perhaps even intimate, “Aida” requires a massive performing ensemble. And it’s not just about the size of the orchestra or choir. Verdi’s opera demands not only outstanding dramatic voices but also a compelling vision — one that blends the epic grandeur of the ancient Egypt with the intensity of human emotions. Its stagings often dazzle with opulence and exotic storytelling.
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In recent decades, Polish opera lovers have seen numerous interpretations of the work. The Polish National Opera recently showed its fourth staging, produced in 2005 and directed by Robert Laganà Manoli. This time, it was not performed in Warsaw — the show was on stage in Dubai. The production has travelled to the United Arab Emirates on multiple occasions.
“Aida” is also a staple in the repertoire of the smaller Silesian Opera. The 2003 production, revived after a decade-long hiatus, was created by the duo Laco Adamik and Barbara Kędzierska. The performance, awarded the Golden Mask in 2003, is notable for its complete lack of monumental set pieces.
A lavish and visually rich “Aida”— in line with the tradition of grand, ambitious stagings — was also shown at the Grand Theatre in Łódź. The production was directed by Marek Weiss-Grzesiński in 2006. The Łódź opera house revisits the performance this year, with Sarah Tisba (April 11 & 13) and Ilona Krzywicka (April 12) alternating in the title role. The part of Amneris will be performed by Olga Maroszek (April 11 & 13) and Monika Ledzion-Porczyńska (April 12), who has already sung the role this season at the Grand Theatre in Poznań. The Poznań production also saw Iwona Sobotka debut as Aida. The staging, which premiered in 2001, was also directed by Marek Weiss-Grzesiński.
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The Kraków Opera will tackle “Aida” for the first time in its new building at Lubicz Street. After twenty-two years, since the last — updated for contemporary viewers and criticized — production by Michael Wedekind, audiences will have the opportunity to see Giorgio Madia’s vision. The Italian choreographer has staged ballet productions in Poland, including “Cinderella” (2010) and “A Midsummer Night’s Dream” (2019) at the Kraków Opera, as well as “Coppélia” (2013) at the Wrocław Opera. Madia is also a highly sought after opera director. In April 2024, his production of Puccini’s “Turandot” premiered in Tartu, Estonia. In previous seasons, he directed “Carmen” (Vanemuine, Estonia), “Faust” (Salzburg Festival), and “The Tales of Hoffmann” (Grand Theatre in Łódź), a production that won the Golden Mask in 2007.
What “Aida” will be shown in Kraków? On the opera’s social media, Madia promises a timeless and universal production that will not age quickly, while set designer Domenico Franchi reveals that the director challenged him with a rather difficult task—eliminating all sharp angles from the visual design, to reflect the seamless flow of music.
Seven performances in March feature four different Aidas: Agnieszka Kuk (March 21), Oksana Nosatova (March 15 & 22), Ewa Płonka (March 14, 16 & 20), and Natalia Rubiś (March 23). The role of Amneris will be sung by Monika Ledzion-Porczyńska (March 21 & 23), Olga Maroszek (March 15 & 20), and Olesya Petrova (March 14, 16 & 22), while Radames will be performed by Giorgi Sturua (March 14, 16, 21, 23) and Dominik Sutowicz (March 15, 20, 22). For soprano Ewa Płonka, this will be her debut on the Kraków stage, while bass Rafał Siwek, who has sung Ramfis nearly a hundred times worldwide, will perform the role in Poland for the first time. The music director is Marcin Nałęcz-Niesiołowski, a frequent guest conductor at the Kraków Opera.