Lørdag 06. oktober direktesendes Aida fra Metropolitan Opera på flere av landets kinoer. Foreløpig høres det ut til at Anna Netrebko som Aida og Anita Rachvelishvili stjeler showet som Aida og Amneris. Les utdrag fra anmeldelsene og se to klipp fra Aida nedenfor.
On Wednesday at the Met, Ms. Netrebko did it again, this time in the title role of Verdi’s “Aida.” She is still fairly new to this challenging part, which she introduced at the Salzburg Festival a year ago. There was something fresh and exploratory about her performance on Wednesday. Yet it also felt fully formed, dramatically deep. And she sang magnificently.
Only one other member of the cast matched her: the mezzo-soprano Anita Rachvelishvili, who was a molten-voiced, impetuous and, in crucial moments, affectingly vulnerable Amneris. I’ve seen “Aida” more times than I can count. But the crucial scene in Act II when Amneris tries to discover whether Aida, her slave (and actually the daughter of the enemy king), might be her secret rival in love for the Egyptian warrior Radamès, felt newly intense and unpredictable. – New York Times om premieren 26.09.18
At The Met, Netrebko triumphs as Aida, with Rachvelishvili a powerful rival. There are many opera singers with voice and technique who can deliver reliable or even excellent performances. Then there are those exceptional performers who not only sing at a high level but who come to inhabit the character. We experience them not so much as actors playing a role, but as the characters themselves, so seamless and transparent their portrayal becomes. The Met’s audience had an opportunity to witness two performers in this evening’s Aida whose artistry demonstrated that they are on their way to becoming legends in their respective roles: Anna Netrebko as Aida and Anita Rachvelishvili as Amneris. Bachtrack.com om premieren 26.09.18 ★★★★★
In all, this was a night to remember at the Met, the first real coup of the season. For all its grandeur, the 1988 Sonja Frisell production—the most massive in the Met’s rep—can seem a stale papier-maché pageant when its cast isn’t up to the challenge. With actors as brilliant as those in this run, it feels suddenly alive again, an example of grand opera’s spectacular potential. The Classical Review om premieren 26.09.18