This production of Aida is just as entertaining this time around as it was in 2017; you get a lot for your money in this one. My problem with Aida is that nutrition matters to me, whether food or art. In a late masterpiece, composer Giuseppe Verdi, at the height of his powers, offered a smorgasbord of delights in Aida, a French-style grand opera, complete with singing, acting, music, dancing, and storytelling, set in a fascinating time and exotic locale. Given all this, directors must decide the balance they want between the sweets and the protein, both are taste treats, one delights, and one sustains. Each time I have viewed Aida, I come away buoyed by the delights, but a little unsatisfied. Is that due to the opera itself or the choices made in its production? I had the same reaction to this production of Aida when it was first offered by Washington National Opera in 2017. That is my ongoing dilemma. Most attendees will long remember the exciting, even thrilling, music and singing and pomp and pageantry offered, same as before, but a slight feeling of emptiness also carried forward for me each time, as if something was missing. Three people are caught in tragic, life-altering circumstances: I feel that I should be weeping at the end, and I never was.
Radamès (Adam Smith, on podium center) returns triumphant wtih solo dancers Jenelle Figgins and Dwayne Brown (left of center) in celebration. Photo by Scott Suchman; courtesy of Washington National Opera.
Aida tells the story of Ethiopian princess Aida, a captive in the court of Egypt’s Pharaoh in ancient times. She is under the control of the pharaoh’s daughter, Princess Amneris. Henceforth, I will refrain from making references to Egypt. WNO Artistic Director Francesca Zambello and the director for this production, which she adapted and set in more recent times, where two unidentified military dictatorships are at war. There is no mention of Egypt, though both sides still pray to the ancient gods; it happens. Back to our story, Aida and Amneris are both in love with Radamès, a young military officer who desires the glory of leading his country’s forces against the enemy from the other country; he thinks the emperor will then grant him his wish to marry Aida. He gets the job and is successful, but his reward isn’t quite what he hoped for. While Amneris tries her best to subdue Radamès’ love for Aida, Aida’s father Amonasro appears and hatches a plan for Aida and Radamés to run off to her country while the father’s country defeats the forces of Radamès’ country with info unsuspectingly revealed by Radamès. Well, I won’t spoil the ending, but it just doesn’t work out for anybody. Athough the WNO’s staging is effective in many ways, lost is the charm imparted by ancient Egypt, and for me, the staging lessens the impact of the tragedy.
Opening night photos: (left photo) Radamès (Adam Smith) andRa Aida (Jennifer Rowley); (right photo) Amneris (Raehann Bryce-Davis) hovers over Aida (Jennifer Rowley). Photos by Scott Suchman; courtesy of Washington National Opera.
Verdi’s first opera appeared in 1839. More than twenty operas later, Aida was first performed in 1871; it was Verdi’s first collaboration with librettist Antonio Ghislanzoni, and the opera premiered in Egypt. Based on Verdi’s indications, many expected him to retire at that point; perhaps even Verdi himself thought that. Yet six years later, Otello was first performed, and six years after that, Falstaff. At the time he composed Aida, he was a master of his craft, perhaps the grand master of his time. For many years, Rigoletto, composed in 1851, was my favorite opera. When I compare the music in Rigoletto to that in Aida, his later work appears more refined, more focused in its support of the unfolding drama on stage, less restrained by convention, and even more beautiful. Under the direction of guest conductor Kwamé Ryan, the Washington National Opera Orchestra delivered Verdi’s music beautifully, in grand style. From sections that highlight single instruments to various groupings, the full orchestra, the music helps to bring the story to life. If for no other reason, attend Aida to hear the music in Aida and experience its magic.
This production boasts other reasons, such as a talented cast of singers. There were cast changes for different nights for the roles of Aida, Amneris, and Radamès. I was unable to attend opening night, and I chose to attend one of the alternating performances that featured a different cast of principal singers. My plan was partially thwarted because highly regarded tenor Robert Watson had taken ill, and tenor Adam Smith, who shared the performances, stepped in after appearing the previous night. Mr. Smith is also highly regarded and drew praise for his Radamès on opening night. He previously appeared a year ago in WNO’s Romeo and Juliet; I commented on that performance, “The surprise of the evening to me was just how good tenor Adam Smith was…”. No longer a surprise, he was every bit as good as Radamès. His lovely tenor voice and ability to reach and sustain notes made his vocals a highlight of the evening.
(left photo): Ramfis (Morris Robinson) and Radamès (Adam Smith); (right photo) Amonnasro (Shenyang) and Aida (Jennifer Rowley). Photos by Scott Suchman; courtesy of Washington National Opera.
Soprano Amber R. Monroe sang the role of Aida, displaying intense emotionality. Her acting was uneven, but her singing was beautiful. The overtones in her voice, created by an excellent vibrato and the strength of her mid-to-low range, make her a good choice for such a dramatic role. Mezzo-soprano Agnieska Rehlis was a highlight in the role of Amneris. She sang well with convincing emotion. She was a princess who wore her royalty and her jealousy on her sleeve. I might have felt saddest for her as she eventually realized what she had done and took ownership of it. Sadly, for this group of talented performers, there were only a few softer, gentler vocals for the principals to sing, mostly singing under strong emotion and/or high stress. Also, one pick I have with the plot is that we only meet the principals in the midst of their struggles. How can I be drawn into the Aida/Radamès love affair if I don’t know how it developed? A woman taken hostage after a battle killing citizens of her country, including family and friends, has fallen in love with one of the soldiers who did it; how did that happen? It’s like we entered the love story of Aida and Radamès in Act 3.
The cast in the supporting roles were very powerful. Bass Morris Robinson, well-known to DC audiences, was an outstanding high priest, Ramfis. He sang well and was a commanding presence as a power figure. Bass-baritone Kevin Short, as the king delivered his vocal lines well, and bass-baritone Shenyang was a very effective Amonasro. Soprano Lauren Carroll, a Caftitz Young Artist, sang beautifully off-stage as the priestess, and tenor Nicholas Huff, a Cafritz Young Artist, delivered his report from the field with passion. The chorus plays a substantial role in Aida, and the Washington National Opera Chorus under the direction of Chorus Master Steven Gathman was a delight.
Acrobatic child dancers in military uniforms perform. Photo by Scott Suchman; courtesy of Washington National Opera.
Costumes by Anita Yavich were well suited to the setting chosen by Director Zambello, being flashy and eye-pleasing. They were in notable display on the dancers, flashy in the case of the young acrobatic dancers who wore military uniforms as children, and eye-pleasing on the dancers, especially solo dancers, Dwayne Brown and Jenelle Figgins, who were highlights of the performance. The otherwise plain sets were often decorated with stunning displays of shimmering giant tapestries, created by artist RETNA (Marquis Lewis), which were mood-creating, through lines and undecipherable letters and colors, replacing Egyptian statues and stone work.
Yes, I enjoyed the singers and their singing immensely, the dancers and their dancing immensely, and the musicians and their music immensely, but the mood they imparted was one of amusement, not fascination and intrigue. Keeping the time in ancient Egypt, with its mysticism, might have better supported the story. The plot was certainly operatic in nature, highlighting the burden of loyalty to a cause on personal relationships. However, a scene that could have been more powerful for today occurs when Radamès asks that the prisoners be pardoned, as the priest and crowd call for blood, but it is brief, tacked inside a scene of triumph, pageantry, and celebration, and motivated by Radamès own desires. Perhaps there was too much that was fun. Director Zambello insists Aida is a chamber opera. I get her point, but that chamber opera is set within a grand opera that makes the whole experience enjoyable. In lunching with a work colleague once, she remarked, while looking at my plate, that there seemed to be a lot going on; it wasn’t a compliment. Some great lines get passed by, such as Amneris to Aida, “But earthly sorrow is not eternal.” And how can you focus on the blood thirsty crowd in the triumph march scene when the music, choral singing, dancing and eye-catching and pleasing set is such great fun? Or feel the intensity of a love affair given so little love time for the lovers. The grand part of the opera needs to be in sync with the chamber part.
So, does WNO’s staging focus too much on the delights to effectively communicate the human stories, or is this simply the dilemma of grand opera? Well, we will always have the music. (And to be fair, my wife totally loved it, and so did audience around us.)
The Fan Experience: [Note: a recent report in the Washington Post stated that ticket sales were down substantially this season. Many KC fans are avoiding attending performances this season as a political protest. Without question, the staff and performers of the Washington National Opera rely on our support to continue to provide high quality artistic performances and performers, a group only recently beginning to recover from the shutdowns of the COVID era. The arts are under stress. For this reason and my love of opera, I choose to continue my support of WNO.]
Performances of Aida were scheduled for October 24, 26, 29, November 1 for one cast of principals and 25, 30, November 2 for another. The opera was performed in Italian with English supertitles. The opera lasted a little over three hours with one twenty-minute intermission. Pre-opera talks were given for ticket holders one hour prior to performance.
The digital program book for Aida and the upcoming performances of The Marriage of Figaro can be accessed at this link. https://encoremagazine.com/washington-dc/the-kennedy-center-opera-house/aida-the-marriage-of-figaro/
As a heads up, the new 20 minute operas of the American Opera Initiative frequently sell out. Get your tickets for January 2026 early.
Parking in the Kennedy Center is typically plentiful, with rates around $25 per day, with a small discount for Kennedy Center members when reserved ahead of the day. The Metro to Foggy Bottom and the free red Kennedy Center buses, running from there to the Kennedy Center every 15 minutes, are an excellent option. There is an advantage in arriving a bit early. KC frequently has multiple performances on its different stages overlapping, which can create traffic jams and sometimes security checks when VIPs attend.
There are snack stands in the main lobby, and on the Terrace level, the KC Café offers food cafeteria-style at moderate prices; fine dining is available on the Terrace level in the Roof Terrace Restaurant; a discount is available to KC members. Food and drinks except water are not allowed inside the opera house, but you can purchase reusable capped containers with your drinks that you can take inside. Take the container back with you on your next KC visit to get a discount on your drink.