Zürich Opera Orchestra;
Fischer, Adam;
Licitra, Salvatore;
Stemme, Nina
nr katalogowy
BAC 022
opis
Hoop skirts and pyramids - a wounded and recovered Egypt
The director of Aida faces several obstacles: On the one hand, he has to portray a pharaonic Egypt, which consists only of decor and local colour, and on the other hand, he has to try, if at all possible, to deal with the conflicts between the individual characters. Very soon he realizes that these conflicts are more than simplified. He can also take Verdi's opera as it is, with its obvious characteristics: symbolic counterpart and clash of the obsessions of an era, •
This is precisely the work that was dared for the production at the Zurich Opera House: the "archaeological" return of Aida to the scenes of her time in order to give her back her true meaning, namely that of a bourgeois-exotic play. At a time when the imperialist great powers were using diplomacy to seize the violence of the Middle East, exoticism played a role in the opera as the motor of a movement that culminated in the new Italy in the expansionist aspirations of the colonial wars of the 20th century. The approach of Verdi's work to the historical beginnings of this movement means trying to reconstruct the hidden lines of power. As well as, we hope, reviving characters who, thanks to the composer's ingenuity, are in any case miles away from those in a comic strip or a photo novel. It means giving the Ethiopian slave girl back her unique and distinctive place amidst the pompous warriors and the arrogance of her decor: To that of a victim who refuses to submit and frees herself from all imposed constraints, only to submit to a single will - her own. Nicolas Joël
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