Exceptional Philanthropic Support from Royal Ballet and Opera Principal Julia Rausing Trust
Audio Description provided by Ruth James and Willie Elliott
Music
Giuseppe Verdi
Libretto
after a scenario by Auguste Mariette
Antonio Ghislanzoni
Conductor
Daniel Oren
Director
Robert Carsen
Revival Director
Gilles Rico
Set Designer
Miriam Buether
Costume designer
Annemarie Woods
Lighting Designers
Robert Carsen, Peter van Praet
Video Designer
Duncan McLean
Choreographer
Rebecca Howell
Aida
Anna Pirozzi
Radames
Riccardo Massi
Amneris
Raehann Bryce-Davis
replaces Ekaterina Semenchuk
Amonasro
Amartuvshin Enkhbat
Ramfis
Alexander Köpeczi
King of Egypt
George Andguladze
High Priestess
Khayakazi Madlala
Messenger
Andrés Presno
Actors
Chris Agha, Gregor Copeland, Jordan Cork, Rain de Rye Barrett, Kris Dillon, Chris Edgerley, Jamie Francis, David Galea, Simon Jaymes, Bless Klepcharek
Dancers
Bradley Applewhaite, Pedr Davies, Cameron Everitt, Daniel Gooddy, Martin Harding, Tim Nutt, Guy Salim, Zach Parkin, Dominic Rocca, Trevor Schoonraad, Dale White
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding
Orchestra
Orchestra of the Royal Opera House
Principal Guest Concert Master
by arrangement with TRITTICO
Vasko Vassilev
Sopranos
Ngela Caesar, Celeste Gattai, Kathryn Jenkin, Shafali Jalota, Alison Rayner, Anna Samant, Rosalind Waters, Vanessa Woodfine
Mezzo-Sopranos
Siobhain Gibson, Zoë Haydn, Maria Jones, Clare McCaldin, Hyacinth Nicholls, Dervla Ramsay, Jennifer Westwood
Tenors
Russell Ablewhite, Phillip Bell, Simon Biazeck, Philip Brown, Edmond Choo, Jonathan English, Darrell Forkin, Andrew Friedhoff, Nick Hardy, Andrew Mackenzie-wicks, Rory O’Connor, James Scarlett
Basses
Trevor Alexander, Mark Campbell-Griffiths, Oscar Castellino, Gerard Delrez, Peter Edge, Christopher Foster, Gabriel Gottlieb, Gavin Horsley, Russell Matthews, John Morgan, John Morrissey, Martin Nelson, Paul Parfitt, Simon Preece, Mark Saberton, Jochem van Ast, Jonathan Wood
Music preparation
Stephen Clarke, Susanna Stranders, Richard Fu, Aidan Oliver
Assistant Director
Sophie Gilpin
Language Coach
Emma Abbate
Assistant to the Movement Director
Martin Harding
Patron
HM The King
Music Director Designate
Jakub Hrůša
Director of Opera
Oliver Mears
Director of Casting
Peter Mario Katona
Associate Director
Netia Jones
Administrative Director
Cormac Simms
Egypt is at war with Ethiopia. Aida, daughter of the Ethiopian King Amonasro, has been captured and made prisoner. ...
Egypt is at war with Ethiopia. Aida, daughter of the Ethiopian King Amonasro, has been captured and made prisoner. She now serves Amneris, the Egyptian King’s daughter, but Aida has concealed her true identity.
Ramfis, the High Priest, will soon name the new Commander of the Egyptian army. Radames, an army Captain, prays the choice will fall on him. He is in love with Aida, and hopes that if he leads Egypt to victory, he will not only be able to win Aida’s freedom, but also establish peace between their two countries.
Amneris, the King of Egypt’s daughter, is also in love with Radames. Victory in war would make him an eligible husband, but Amneris fears that her servant Aida might be her rival for Radames’ love. The King summons his soldiers as an army messenger bring news of the recent Ethiopian attacks led by Amonasro. Naming Radames as the new Egyptian Commander, the King, Ramfis and the soldiers cry out for war.
Alone, Aida is torn by her conflicting emotions: Radames will lead the Egyptians to war against her father and homeland, yet she cannot help loving him. She prays to heaven to take pity on her.
Radames is invested as Commander of the Egyptian army, and Ramfis and the Priests join him in praying for victory in the coming war.
The Egyptian army has again defeated the Ethiopian forces. Amneris eagerly awaits the return of Radames, while Aida mourns the defeat of her homeland. In order to discover whether Aida really is her rival, Amneris tells her that Radames has been killed in battle. Aida betrays her feelings with a cry of despair. Amneris reveals her deception, and swears to see Aida punished and humiliated.
A military parade celebrates the victorious return of Radames and the Egyptian army. The King hails him as the nation’s saviour and swears to grant him any reward. When Radames summons the Ethiopian prisoners, Aida recognises her father, but Amonasro warns her not to betray his identity. Aida’s father tells the King of Egypt that Amonasro has died in battle, and pleads for the prisoners’ lives. The King hesitates as Radames names his reward: freedom for the Ethiopians. Furious, Ramfis demands that Aida and her father be kept as hostages. The King agrees, further decreeing that Radames is to marry Amneris and rule over Egypt after his death.
On the eve of her wedding, Amneris spends the night in prayer. Aida, waiting to meet Radames, recalls her lost homeland. Amonasro has discovered his daughter’s secret love and offers her freedom if she tricks Radames into revealing the Egyptian army’s strategic plans. Aida refuses, but relents after her father threatens to disown her. Amonasro hides as Radames arrives.
Radames tells Aida he intends to demand the King to allow him to marry her and make peace between their nations. Aida insists that their only option is to flee from Amneris and from Egypt. Radames finally agrees, describing their route as the same one the Egyptian army will use against the Ethiopians. Amonasro emerges and triumphantly reveals his and Aida’s true identities. Radames is devastated by his inadvertent betrayal of his country. Amonasro urges him to escape with them, but Amneris suddenly appears. She has overheard everything and denounces Radames as a traitor. Amonasro flees with Aida, leaving Radames to surrender to Ramfis, who arrests him for treason.
Awaiting his trial, Amneris implores Radames to deny the charges against him. Radames, believing Aida to have been killed, says he longs for death. Amneris tells him that Amonasro has been killed, but that Aida has escaped. If Radames denies his love for Aida, she will save him. Radames refuses. Amneris, furious, leaves him to be tried and convicted.
In front of the court, Radames refuses to answer Ramfis’ accusations. He is found guilty and sentenced to die by being entombed alive. Amneris, unable to persuade Ramfis to overturn the sentence, desperately curses her jealousy as well as those who sentenced Radames to death.
As Radames is sealed into his tomb, a figure appears in the darkness. It is Aida, who has hidden there to die with him. Alone at last, with the voices of the Egyptians echoing above them, Radames and Aida wait for death to take them to a better world.
- Robert Carsen
We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.
Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.
Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.
Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.
Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
Smoking and vaping are not permitted anywhere on the premises.
The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.
Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.
We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.
For people, not profit.
Royal Opera House Covent Garden Foundation, a charitable company limited by guarantee incorporated in England and Wales (Company number 480523) Charity Registered (Number 211775)