Milen Bozhkov
Milen Bozhkov
© SLT / Tobias Witzgall
Milen Bozhkov, Martin Summer, Ballett und Mozarteumorchester Salzburg
Milen Bozhkov, Martin Summer, Ballett und Mozarteumorchester Salzburg
© SLT / Tobias Witzgall
Milen Bozhkov und Cristiana Oliveira
Milen Bozhkov und Cristiana Oliveira
© SLT / Tobias Witzgall
Cristiana Oliveira
Cristiana Oliveira
© SLT / Tobias Witzgall
Milen Bozhkov, Julia Rutigliano und Cristiana Oliveira
Milen Bozhkov, Julia Rutigliano und Cristiana Oliveira
© SLT / Tobias Witzgall
Milen Bozhkov und Oksana Volkova
Milen Bozhkov und Oksana Volkova
© SLT / Tobias Witzgall
Cristiana Oliveira
Cristiana Oliveira
© SLT / Tobias Witzgall
Cristiana Oliveira
Cristiana Oliveira
© SLT / Tobias Witzgall
Daniele Macciantelli, Milen Bozhkov und Chor
Daniele Macciantelli, Milen Bozhkov und Chor
© SLT / Tobias Witzgall
Ballett und Chor
Ballett und Chor
© SLT / Tobias Witzgall
Cristiana Oliveira und Ballett
Cristiana Oliveira und Ballett
© SLT / Tobias Witzgall
Oksana Volkova
Oksana Volkova
© SLT / Tobias Witzgall
Julia Rutigliano und Cristiana Oliveira
Julia Rutigliano und Cristiana Oliveira
© SLT / Tobias Witzgall
Milen Bozhkov und Martin Summer
Milen Bozhkov und Martin Summer
© SLT / Tobias Witzgall
Milen Bozhkov und Ballett
Milen Bozhkov und Ballett
© SLT / Tobias Witzgall
Chor
Chor
© SLT / Tobias Witzgall
Ballett
Ballett
© SLT / Tobias Witzgall
Cristiana Oliveira und Ballett
Cristiana Oliveira und Ballett
© SLT / Tobias Witzgall
Julia Rutigliano, Milen Bozhkov, Cristiana Oliveira und Chor
Julia Rutigliano, Milen Bozhkov, Cristiana Oliveira und Chor
© SLT / Tobias Witzgall
Alexander Hüttner, Martin Summer, Anita Giovanna Rosati und Chor
Alexander Hüttner, Martin Summer, Anita Giovanna Rosati und Chor
© SLT / Tobias Witzgall
Chor
Chor
© SLT / Tobias Witzgall
Milen Bozhkov und Chor
Milen Bozhkov und Chor
© SLT / Tobias Witzgall
Chor
Chor
© SLT / Tobias Witzgall
Milen Bozhkov
Milen Bozhkov
© SLT / Tobias Witzgall
Alexander Hüttner und Oksana Volkova
Alexander Hüttner und Oksana Volkova
© SLT / Tobias Witzgall
Bühnenbild von Stephan Prattes
Bühnenbild von Stephan Prattes
© SLT / Tobias Witzgall
Cristiana Oliveira
Cristiana Oliveira
© SLT / Tobias Witzgall
Cristiana Oliveira
Cristiana Oliveira
© SLT / Tobias Witzgall
Cristiana Oliveira und Aris Argiris
Cristiana Oliveira und Aris Argiris
© SLT / Tobias Witzgall
Cristiana Oliveira und Milen Bozhkov
Cristiana Oliveira und Milen Bozhkov
© SLT / Tobias Witzgall
Cristiana Oliveira und Milen Bozhkov
Cristiana Oliveira und Milen Bozhkov
© SLT / Tobias Witzgall
Cristiana Oliveira und Milen Bozhkov
Cristiana Oliveira und Milen Bozhkov
© SLT / Tobias Witzgall
Cristiana Oliveira und Milen Bozhkov
Cristiana Oliveira und Milen Bozhkov
© SLT / Tobias Witzgall
Oksana Volkova
Oksana Volkova
© SLT / Tobias Witzgall
Milen Bozhkov und Julia Rutigliano
Milen Bozhkov und Julia Rutigliano
© SLT / Tobias Witzgall
Julia Rutigliano
Julia Rutigliano
© SLT / Tobias Witzgall
Oksana Volkova
Oksana Volkova
© SLT / Tobias Witzgall
Oksana Volkova, Milen Bozhkov, Martin Summer und Chor
Oksana Volkova, Milen Bozhkov, Martin Summer und Chor
© SLT / Tobias Witzgall
Milen Bozhkov, Martin Summer, Julia Rutigliano und Chor
Milen Bozhkov, Martin Summer, Julia Rutigliano und Chor
© SLT / Tobias Witzgall
Cristiana Oliveira und Milen Bozhkov
Cristiana Oliveira und Milen Bozhkov
© SLT / Tobias Witzgall
Milen Bozhkov, Cristiana Oliveira, Julia Rutigliano und Chor
Milen Bozhkov, Cristiana Oliveira, Julia Rutigliano und Chor
© SLT / Tobias Witzgall

Aida

Giuseppe Verdi

In Italian language with German and English subtitles.

Libretto von Antonio Ghislanzoni nach Auguste Mariette

Premiere: 04. November 2023 / Felsenreitschule

Synopsis

“Aida” is one of the most famous operas in music history and is particularly moving because of the deeply moving human fates that the work shows.

The Egyptian general Radamès is secretly in love with the slave Aida, who lives as a prisoner of war at court and is in the service of the king's daughter Amneris. What no one knows: Aida is the daughter of the Ethiopian King Amonasro. After a campaign against the Ethiopians, the victorious Radamès, who was celebrated on all sides, received an unexpected reward: he was personally betrothed to Amneris by the king. She has been looking at Aida with jealousy for some time. Aida and Radamès now find themselves caught between their public duty and their secret feelings.

“Aida” was a work for the Khedive of Egypt, who tried several times to convince Verdi to write an opera for Cairo. For the commission, Verdi not only received the highest fee ever paid to a composer up to that point, but he was also able to have almost any special request fulfilled. Verdi's monumental opera tells of a seemingly unbridgeable fault between two countries and a profound passion that drives people between and to the fronts of this conflict.

Since its premiere in Cairo in 1871, “Aida” has been one of the most successful works in the opera repertoire. The libretto by Antonio Ghislanzoni - inspired by Egyptian sources - sparked an enormous creative urge in Giuseppe Verdi (1813-1901), who was already about to end his operatic career, and inspired him to write some of his most famous melodies.

Music director Leslie Suganandarajah conducts Andreas Gergen’s production of “Aida” on one of the most impressive theater stages in the world: the Felsenreitschule. Andreas Gergen, who was opera director at the Salzburg State Theater until 2017, is an expert in monumental musical theater productions and has already staged “Carmen” and “Hair” at the Felsenreitschule.

Duration: 3 hours / one intermission

Reviews

„Trotz zum Teil großer räumlicher Distanzen zwischen den Ausführenden des Landestheaterchors und des Extrachors gelang ein überzeugender Vokalklang. Die perfekte Abstimmung aller Akteure fußte dabei auf dem minutiösen Dirigat von Leslie Suganandarajah, der in jeder Situation Präsenz zeigt. (…) Zum schluss gibt’s anstatt des tragischen Heldentods ein nüchterneres „Game Over“.“

Salzburger Nachrichten

„“Aida“ goes „World of Warcraft“, das muss man erst mal riskieren. Insofern dennoch Kompliment ans Salzburger Landestheater.“

BR-Klassik

„Das Publikum ließ sich von den Reizen der vielfarbigen Ausstattung (Stefan Prattes) und der volltrefflichen musikalischen Aufführung begeistern und geizte am Ende nicht mit reichlichem Applaus für alle Mitwirkenden.“

Reichenhalle Tageblatt

„Cristiana Oliveira in der Titelrolle ist fulminant, sängerisch wie darstellerisch. Präsent im delikaten Pianissimo der Verzweiflung wie im kräftigen Forte des Aufbegehrens.“

Drehpunktkultur

„Christiana Oliveira füllt mit ihrem weichen, ausdrucksstarken Sopran mühelos die Felsenreitschule“

Merkur

„Bestens disponiert sind Chor und Extrachor des Salzburger Landestheaters, die vor allem in den priesterlichen acapella-Passagen mit feiner Chorbalance, in den Männer- wie in den Frauenstellen, aufhorchen lassen.“

Standard

Selected performance

Sa 11/04/2023 07.00 pm

Felsenreitschule

Cast (on 11/04/2023)

Musical Director Leslie Suganandarajah

Director Andreas Gergen

State Design Stephan Prattes

Costume Design Aleksandra Kica

Videodesign Andreas "Ivo" Ivancsics

Choreography Reginaldo Oliveira

Dramaturgy Vinda Miguna


Aida Cristiana Oliveira

Amneris Oksana Volkova

Radamès Milen Bozhkov

Amonasro Aris Argiris

Ramfis Martin Summer

Il Re Daniele Macciantelli

Una sacerdotessa Anita Giovanna Rosati

Un messaggero Alexander Hüttner

Ballettensemble des Salzburger Landestheaters Dafne Barbosa
Valbona Bushkola
Annachiara Corti
Mikino Karube
Lucas Leonardo
Samuel Pellegrin
Kt. Flavio Salamanka
Ben van Beelen

Chor Chor und Extrachor des Salzburger Landestheaters

Orchester Mozarteumorchester Salzburg

Bühnenmusik Dániel Boldizsár, Jošt Rudman, Norbert Szász, Danica Szubotin, Felix Trebo, Gašper Valek

Choreinstudierung Carl Philipp Fromherz

Audio introduction

von Vinda Miguna