In Michael Mayer's new Metropolitan Opera staging of Aida, the shift from Ancient Egypt to 1920s archeological discovery critiques the opera's exoticism while undercutting its grandeur.
This production attempts a serious take on Aida, presenting not just melodies but cultural themes, yet at times feels more like a distancing irony than a respectful homage.
The staging is marked by a sepulchral vibe that raises questions about how to responsibly engage with a classic whose narrative of slavers and vendettas feels outdated.
Mayer’s version sends a message that critiques the western framing of non-western cultures but risks losing the operatic essence that once defined its spectacular attraction.
Collection
[
|
...
]