Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor’s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.The issue of cultural appropriation remains a hot topic in opera. Is it still PC to have Puccini’s Madama Butterfly set in Japan or his Turandot in China? And what is to be done with Verdi’s Aida, a celebrated depiction of the Egypt of the pharaohs?So long as it is unclear how strongly these concerns will persist, opera companies are hedging their bets. The Metropolitan Opera’s new production of Aida remains a thoroughly traditional show beyond some surface novelties, whereas the Royal Opera’s 2022 production dispenses with Egypt altogether.Reimagining the drama in contemporary terms, director Robert Carsen has transported the action to an unidentified totalitarian regime. Think North Korea or a post-Soviet satellite state. Here is the grim reality that we associate with communism, barely a flash of colour, not a ray of hope. The love triangle of warrior, Egyptian princess and Ethiopian slave still makes sense in a society where the ruling regime has the power to decide who lives, who loves and who dies. Verdi’s triumph scene becomes a May Day military parade. Radames’s trial is a court martial. The lovers sing their closing duet imprisoned in a missile silo. How much better it all seems to work on a second viewing. Being forewarned about its overwhelming greyness is obviously a help. Like all Carsen’s productions, his Aida is an intelligent response to the drama, bringing home how powerful is the opera’s condemnation of war and the suffocating of individual freedom. It is just a shame that his scenario allows no place for the parallel theme of church versus state, which was so important to Verdi (see also his previous opera, Don Carlos).For this revival the Royal Opera has fielded an effective team, rather than outstanding voices. Anna Pirozzi has shown her mettle in various roles at the Royal Opera recently, including Turandot, and her Aida is sung in native Italian style with a judicious balance of power and musicality. Her melting plea to the King at the climax of the triumph scene touched the heart.Her nemesis, Amneris, here the dictator’s entitled daughter, is sung and played to the hilt by Raehann Bryce-Davis. There have been larger voices in the role here, and she is stronger in her biting chest register than the comparatively thin top notes, but few have chewed the scenery more voraciously. Her parting scene as the princess scorned was hair-raising.For this performance Jorge de León stepped in as Radames, a warrior hero trumpeting his top notes, though elsewhere the voice is uneven in quality, sometimes with a curdling vibrato. Amartuvshin Enkhbat makes a proudly powerful Amonasro, vocally dominating the scenes he is in.Alexander Köpeczi is an authoritative, sonorous Ramfis, George Andguladze a warm-voiced King. The chorus again made a big impression, especially in the quietest moments, their prayers at the anointing of Ramfis being mesmerising (though not sadly enough to stop a barrage of audience coughing).The Royal Opera orchestra plays well for Daniel Oren, who conducts a performance in which every phrase has been considered afresh. Although the music sometimes feels pulled out of shape, there is tenderness and vigour here to stir the soul. Nothing in this Aida, visually or musically, is run-of-the-mill.★★★★☆To February 12, rbo.org.uk
