When thinking of the biggest, boldest and most enchanting operas, Aida would reign at the top of the list for many. The storyline is exciting, the characterisation rich, the visuals stunning and the music ever so beautiful. It really does have everything. Given this, and the legions of ardent Aida fans around the world, it was a bold move for Opera Australia to decide to completely reinvent this production, replacing the traditional designs of seasons gone past with a brand-new digital backdrop. While I did hear some murmurs around the theatre from a few expressing mild displeasure at the change, for me, it took the show up a notch. This was opera done in an exciting, refashioned way and the result was spectacular. 

In many ways, Aida can feel more like a piece of musical theatre than an opera. The cast size swells when compared to most opera productions and unlike the vast majority of operas, not all of the company are singers. Indeed, it was the Opera Australia Dancers and Actors who were centre-stage for most of the production, adding to the visual spectacular of the backdrop behind them and maintaining the larger-than-life feel that pervades the opera. The dancing was excellent for the most part, although the choreography was a little unusual at times and the acting was superb. 

However, the star of the show production-wise was the visual backdrop. Changing with the scenes and reconfiguring at almost every moment, the screen was used to display symbolism but also for realism in depicting Ancient Egypt. It was done so well that it did not feel tacky or like watching a screen, but rather felt highly immersive as if one was being transported back in time. Led by Gio Forma and D-Wok, the set design was a masterpiece in how to execute a traditional live performance by seamlessly blending in elements of the modern. 

But an opera is nothing without its lead vocalists and all of the main cast stood up to the task with extraordinary vocals. Najmiddin Mavlyanov was the star of the show, with his beautiful, lyrical tenor voice shining through the theatre with resonance and emotive passion. Leah Crocetto, playing the titular role was also sublime, showcasing her magnificent top notes throughout the performance with a great degree of power and nuanced emotion.  Wawrick Fyfe, Roberto Scandiuzzi and Elena Gabouri were also fabulous in their roles, with the power in their voices significantly adding to the ambiance of the production. 

Overall, this was a stunning production with plenty of power, passion and emotion. Although the new set designs may polarise audiences, I believe that Opera Australia needed to take a bold step with this production to take it to the next level and it certainty paid off. While this production pushes all the boundaries of traditionalism, it maintains the quality of the original production that has made Verdi’s work so loved. This is a production not to miss. 

Rating: ★★★★ 1/2

Aida plays at the Sydney Opera House until 21^st July. For more information, click here. 

Photo credit: Keith Saunders