Aida
Royal Opera House, in rep until 16 May
Powder Her Face
Linbury Studio, in rep until 12 May
In the programme for the Royal Opera’s new production of Aida, George Hall tells us that ‘the total number of complete or substantially complete recordings of Aida, made either live or in the studio, currently stands at over 250’, a statistic that shook me, hardened discomaniac as I am. There can’t be more than one or two other operas which achieve such a tally. What adds to my surprise is that Aida is so far from being Verdi’s finest opera, and that it does urgently need seeing as well as hearing. It seems to be more of a problem, or embarrassment, for producers, too, than his other most celebrated works, judging by the short lifespan of UK productions in the post-war period: the Royal Opera has tended to rest it for long periods, and then to put on an unrevived new production.
Get Britain's best politics newsletters
Register to get The Spectator's insight and opinion straight to your inbox. You can then read two free articles each week.
Already a subscriber? Log in
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in