Robert Carsen’s production of Verdi’s Aida seen at Covent Garden in 2022 is a very good example of what Carsen can do.  In this case it’s to strip out elements he considers non-essential and focus on the essentials of the drama.  In the rather good “extra” feature on the video recording Carsen summarises it as focussing “on the story not the place”.

So we are not in ancient Egypt.  We are in some kind of contemporary and quite militaristic super power dealing with threats on its borders.  Carsen isn’t explicit about which particular super power he’s thinking of but the uncomfortable blending of religion. politics and the military certainly suggests to me the United States.  Various aesthetic choices in set design, costuming and so forth tend to reinforce that belief but it’s not the in your face “America bad m’kay” that characterises certain Peter Sellars productions.

It’s also “de-exoticised” in other ways.  The act 1 and act 2 ballets are replaced with scenes that blend militarism and religion but in a far from “spectacular” way.  The Triumphal March is followed by an energetic number for (extremely good) male dancers but the March itself serves as background for a coffin flag ceremony.  Shades of Phil Ochs here perhaps.  If that’s not enough the act closes out with background visdeo of modern high-tech warfare at its most intimidating.  Act 3 seems to be set in the Tomb of the Unknown Soldier and the Radames and Aida’s final resting place is a bomb store but really those last two acts seem really rather straightforward compared with what’s come before.

A consequence of reducing visual clutter is that the emphasis shifts to the music.  As Antonio Pappano points out in the other “extra” feature it’s some of Verdi’s best and it’s heard to full advantage hear.  There is some really lovely playing from the ROH orchestra, especially in the quieter more sparsely orchestrated passages.

There’s some very fine singing too.  Francesco Meli as Radames knocks it out of the park from the start with a lovely, floaty “Celeste Aida” and the lady herself, sung by Elena Stikhina matches, or perhaps balances, it with an impassioned “Ritorna vincitor!”  She’s got a lovely combination of sweet, true tone and power.  Their final duet is just gorgeous and very moving.

But they are not the only stars on show.  Agnieszka Rehlis (another of those tall, beautiful in a slightly scary way, mezzos from around the Baltic… is it the all herring diet?) is a fabulous Amneris.  She’s fiery and passionate And really quite moving.  The extremely tall, young American bass Soloman Howard is imposing and vocally most impressive as Ramfis.  Ludivic Tézier doesn’t disappoint as Amonasro either.  There’s excellent work from the minor characters and the chorus (especially the gentlemen).  Pappano is in his element.  It’s his, very fine, orchestra, a piece he loves and a production he’s obviously sympathetic towards.  It’s very fine conducting.

It’s not the easiest show to film.  The set is often very deep front to back, there’s a lot going on and light levels are low in acts 3 and 4.  In the circumstances Peter Jones does a very good job of getting it onto disk.  The sound (DTS-HD-MA and PCM stereo)( and video on Blu-ray are excellent.  Documentation is pretty basic but the “extra” features more than compensate.  Subtitle options are English, Italian, French, German, Japanese and Korean.

I suppose one has to say “not for the traditionalists” but if you thought that Carsen’s Idomeneo worked, which I most certainly did, you’ll likely enjoy this.

Catalogue information: Opus Arte Blu-ray OABD7321D