Kristin Lewis Anita Rachvelishvili Marco Berti Mark S. Doss conducted by Gianandrea Noseda staged by William Friedkin
Teatro Regio Torino Giuseppe Verdi Originally commissioned to celebrate the completion of the Suez Canal and the opening of Cairo’s new opera house, Verdi’s Egyptian epic Aida is here seen in a spectacular new staging specially mounted by the Teatro Regio Torino to celebrate the re-opening of Turin’s historic Aida Museo Egizio, home to the world’s largest collection of Egyptian antiquities outside of the Cairo Museum. Orchestra Orchestra and Chorus Teatro Regio Torino Conducted by the Teatro Regio’s Music Director, Gianandrea Noseda Conductor Gianandrea Noseda – one of the world’s finest Verdians andMusical America’s Conductor Stage Director William Friedkin of the Year 2015 –, Turin’s authentically Egyptian staging is directed in true Hollywood style by the Oscar-winning American film director William Friedkin, creator of such famous movies as The Exorcist and The Aida Kristin Lewis French Connection. Amneris Anita Rachvelishvili Radamès Marco Berti Aida is perhaps best-known for the sonic splendour of its famous Amonasro Marc S. Doss “Triumph” Scene – a rousing military march-past, complete with Ramfis Giacomo Prestia onstage “Egyptian trumpets”. But Verdi’s grandest opera is also The King In-Sung Sim amongst his most intimate, focusing as it does upon the private A Messenger Dario Prola emotions experienced by the three victims of a tragic love-triangle: A High Priestess Kate Fruchtermann Radamès, Egypt’s victorious general, and the two rival princesses who adore him, the Pharaoh’s daughter Amneris and her Ethiopian slave Aida. Produced by Metis Film Video Director Tiziano Mancini Amongst the first-rate cast, critics singled out the American soprano Kristin Lewis, who exhibits “a remarkable voice, which she uses with shot in powerful dramatic instinct” (La Stampa), and the Georgian mezzo- soprano Anita Rachvelishvili, whose Amneris “dominates the stage with her dark, rounded, irrestistible voice and extraordinary stage Ult ra HD presence” (La Gazzetta Musicale). (3840 × 2160) Length: approx. 150' And all were united in praise of Noseda: “he controls everything Cat. no. A 000 50035 – orchestra, singers, chorus, dancers, acrobats – with an all- encompassing overview” (La Stampa); “he knows exactly when it’s time to linger over a timbre, a colour, an expressive chord” (Corriere A production of Fondazione Teatro Regio Torino della Sera); “he draws from the score colours of a rare beauty, creating in cooperation with UNITEL CLASSICA magnificent carpets of sound” ResMusica( ); and, in the final scene in particular, “he resolves the expressive contrasts and the vocal- instrumental dialogue with remarkable dramatic insight and orchestral refinement” La( Repubblica).
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