I had so many reasons to come to Monte Carlo on Sunday, November 16—truly a lot of reasons. And the closer the date came, the more excited I was, especially with two cast changes. The first was Ludovic Tézier replacing Artur Ruciński as Amonasro. Granted, it’s a small role, but what a pleasure to see the greatest Verdi baritone take it on. Having such a man for such a small role is like bringing Zidane onto the field in the 89th minute!

I’m warning you, this might be the most beautiful show of the season—certainly the most beautiful costumes, without a doubt! I have a deep love for the work of Davide Livermore, the most Monegasque Italian ever, who was in charge of carrying Verdi’s soul through this grandiose, magnificent, and very clever staging. A giant screen accompanies the singers throughout the performance, using a technology never seen before. A very special mention goes to Act 3 and that stunning green hue—I couldn’t understand how the sand was being recreated on that screen, the illusion was so perfect!

The only downside (and God knows it’s hard to find one) was the dancers who kept talking or making noises during Verdi’s beautiful music—it felt a bit like listening to music on a train next to a crying baby.

Alexandra Kurzak… extraordinary, truly magnificent. I was lucky enough to be in the front row, just two meters from her during her Act 3 solo, and I can tell you it’s rare for me to feel such a strong emotion watching a singer vibrate with her whole being. Having just finished her run of Aida in Paris a few days earlier, she brought an incredibly powerful Aida to the Monte Carlo stage, with a dazzling finale alongside Arsen Soghomonyan.

Announced as ill for the second half, though he still sang through the whole performance, the tenor singing Radamès began with a rather shy “Celeste Aida” in the high notes, but he was a true powerhouse in the lower register, with those long-held tones that reminded me of the joy I felt seeing him as Otello a few years ago—a role that suits him extremely well. Special mention for the trio with Amonasro and Aida in Act 3. Indeed, Arsen Soghomonyan is truly an outstanding tenor—quiet, perhaps, but I look forward to hearing him in better form than on this opening night.

Speaking about Erwin Schrott’s talent is complicated for me, because I can’t be objective—he’s one of the people who brought me into the world of opera, one of those who made me want to travel, and one of the artists I listen to the most on Spotify. What talent, what incredible presence! I find that Verdi’s roles suit him so well. Even though I’m not particularly drawn to Mozart, his specialty, what a pleasure to see him in the Italian repertoire!

Antonio Di Matteo, despite his small role, delivered strong support—what charisma, my friends. A beautiful voice, nicely rough, just the way I like it!

And then came the star of the evening: the French mezzo Marie-Nicole Lemieux dazzled the audience with her talent. The indisputable winner of the applause-meter, she displayed true feats in the high notes. When she plays the woman in love with Radamès, you really believe it. Her dominance over Aida is a pleasure to watch, even if the staging doesn’t highlight it as much as it could.

A real “big up,” as I used to say when I was younger, to the opera chorus. Huge congratulations to Stefano Visconti, who carries such a beautiful name and leads his men to produce an incredible chorus—one that still makes my memories vibrate. And above all, thanks to Davide Livermore for letting us enjoy seeing the trial scene fully on stage, with Radamès at the center—who, I imagine, must still have ringing ears at this very moment!

All this to tell you, amici, what a pleasure it is to return to the Monte Carlo Opera. Although announced as sold out, there are still a few seats left—very few—for the upcoming performances. I can only encourage you, of course, to rush for the last remaining tickets to see this Verdi masterpiece, with such an exceptional vocal cast, such beautiful staging, and costumes that are—let’s say it—the most beautiful of the season so far.

Viva Aida, Viva Monte Carlo, and… più che tutto… Viva Verdi.

Pictures -> Aida ©OMC – Marco Borrelli

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CAST

The King | Antonio Di Matteo

Amneris | Marie-Nicole Lemieux

Aida | Aleksandra Kurzak

Radamès | Arsen Soghomonyan

Ramfis | Erwin Schrott

Amonasro | Ludovic Tézier

Voice of the Priestess | Galia Bakalov

A messenger | Vincenzo di Nocera

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Choir of the OPÉRA DE MONTE-CARLO

ORCHESTRE PHILHARMONIQUE DE MONTE-CARLO

Conductor | Massimo Zanetti

Director & Choreography | Davide Livermore

Sets | Giò Forma

Costumes | Gianluca Falaschi

Lighting design | Antonio Castro

Videos | D-Wok

Choreography | Carlo Massari

Choirmaster | Stefano Visconti

Assistant director | Chiara Osella

Assistant costumes | Giuditta Verderio

Repetitor | Kira Parfeevets