“Aida” Returns to the National Center for the Performing Arts with Majestic Performance
By Reporter Gao Qian
The highly anticipated opera “Aida” made its grand return to the National Center for the Performing Arts from November 1st to 5th, captivating the audience with its magnificent momentum and heart-stirring performance. Set in the period of the pharaohs of ancient Egypt, Verdi’s “grand opera” has always been known for its “grandeur”. Conductor Renato Palumbo, along with Chinese and foreign artists, worked together to create a legendary group portrait on stage.
Renato Palumbo, a renowned conductor with a deep understanding of Italian opera, led the National Center for the Performing Arts Orchestra and Chorus to deliver a majestic performance. The chorus, in particular, lifted the spirit of the entire work with their powerful vocals in important mass scenes such as “Arise, to the Sacred Nile” and “Glory to Egypt”. The main characters in “Aida” were given rich and colorful portrayals by Verdi, with their characters and psychology filled with drama and impact. The sopranos Susanna Bronzini and Sun Xiuwei, who played the role of Aida, showcased their dramatic emotional changes and difficult singing skills, capturing the dilemma of Aida between lover and father, personal relationship and family and country. The tenors, played by Jorge de Rang and Wang Chong, delivered impressive performances, receiving warm applause from the audience.
The character of the Egyptian princess Amneris, portrayed by mezzo-sopranos Anastasia Bordeleva and Niu Shasha, was full and three-dimensional, reflecting various emotions such as love, suspicion, hatred, and jealousy. Other roles, including Aida’s father Amonasro played by Zhang Yang, the Pharaoh played by Guan Zhijing, and the high priestess played by Zhang Wenqin, also delivered wonderful performances, creating vivid portraits of the characters in that legendary era.
The staging of “Aida” at the National Center for the Performing Arts took “bigness” to the extreme. The sets, weighing tons, and towering ships, moved slowly across the stage, showcasing the grandeur of ancient Egypt. The famous “Triumph” scene in the second act reached a breathtaking peak, with Egyptian trumpets playing the well-known “Triumph March” and a grand celebration parade displayed with each piece of loot. The trial scene of Radames under the huge wall of mummies created a majestic and oppressive atmosphere.
According to Li Bin, the relevant person in charge of the stage technology department at the National Center for the Performing Arts, the production of “Aida” posed significant challenges due to its size and complexity. It took four days to transport all four sets of scenes to the theater, followed by another four to five days for splicing and installation. The stage design master Ezio Frigelio fully expressed his inspiration and ideas in this version of “Aida”. The stage and surrounding areas of the opera house were completely occupied, resembling a Huarong Tao game, requiring precise coordination and calculation by nine stage managers.
Over the course of eight years since its premiere, “Aida” has been performed three times at the National Center for the Performing Arts. The current performances feature a star-studded cast led by Renato Palumbo, along with nearly 400 artists and behind-the-scenes workers, filling the stage with a majestic and gorgeous production. The true “grand opera” of “Aida” deserves its reputation, captivating audiences with its stunning visuals and powerful performances.