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AIDA Metropolen ab Hamburg – Stationen, Ausflüge und Tipps für einen tollen Urlaub

AIDA Metropolen ab Hamburg - die Kultkreuzfahrt vorgestellt

Schon seit vielen Jahren bietet AIDA die Route Metropolen ab Hamburg an. Zu recht verdient diese schöne Reise den Status einer Kultkreuzfahrt. Sieben Tage lang geht es durch die Nordsee und den Ärmelkanal. Paris und London liegen zum Greifen nahe. Aber auch Brüssel und Rotterdam haben ihren Reiz.

Auf der Kreuzfahrt, die von AIDA Fans liebevoll Metropolen-Tour genannt wird, geht es jedoch nicht nur um große Städte. Denn auf der Fahrt durch geschützte Küstengewässer hast du jede Menge Zeit, das Schiff kennen zu lernen. Und da hat AIDA einiges zu bieten, auch wenn die Sonne mal nicht scheinen sollte.

Diese Kreuzfahrt wird jetzt möglicherweise mit verändertem Routenverlauf angeboten.

Quick Check

  • 5 angesagte Städte in 7 Tagen
  • Übernachtung in Rotterdam
  • Günstige Anreise ohne Flugstress
  • Tolles Schiff mit vielen „Secret Places“
  • Super Bühnenshows
  • Deutschsprachiger Service
  • Trinkgelder schon inklusive

AIDA Metropolen ab Hamburg – Häfen und Ausflüge

Die Routenkarten zeigt den Verlauf der Kreuzfahrt AIDA Metropolen ab Hamburg.

Tag 1: 🏁 Abfahrt in Hamburg um 18 Uhr

In Hamburg startet und endet die AIDA Metropolen-Route.

Jeder kennt Hamburg, klar. Trotzdem ist dies kein gewöhnlicher Besuch in der Hansestadt. Man ist nicht als Ausflügler, Einheimischer oder Geschäftsreisender hier. Sondern als Kreuzfahrtpassagier. Es hat schon etwas Erhabenes, wenn man die Landungsbrücken entlang schlendert und an der anderen Hafenkante das AIDA Schiff liegen sieht, mit dem man am gleichen Abend noch in See stechen wird.

Mein Rat: Genieße die Hansestadt und die Vorfreude! Oft gehören diese Eindrücke im Nachhinein zu den schönsten Momenten der Kultroute AIDA Metropolen ab Hamburg. Natürlich kann man in Hamburg nicht nur maritime Stimmung tanken, sondern auch vorzüglich shoppen, spazieren und speisen. Die Seemannskirche Michel zum Beispiel oder die nahe gelegene Reeperbahn sind auch bei Tageslicht einen Besuch wert.

Es macht also durchaus Sinn, schon früh in Hamburg anzukommen. Dann kann man den Tag dafür nutzen, wofür er gedacht ist: als den ersten Urlaubstag.

Tag 2: 🛳 Am Seetag das Schiff entdecken

An dem Seetag lässt sich das Schiff AIDAprima erkunden.

Die Route AIDA Metropolen ab Hamburg wird von unterschiedlichen Schiffen befahren. Zum Zeitpunkt dieses Erfahrungsberichts war es die AIDAprima. Ein tolles Zuhause auf dem Wasser! Was so ein Kreuzfahrtschiff alles zu bieten hat, ist selbst an einem ganzen Tag auf See schwer zu erkunden.

Da wären zum Beispiel die vielen Restaurants. Essen und Trinken kann man zu jeder Tageszeit (zum Glück gibt es nur diesen einen Seetag auf der Tour 😉). Mein persönlicher Tipp für die AIDAprima: Die Brasserie French Kiss . Hier gibt’s von feinen Pasteten und leckerem Käse bis zur Bouillabaisse vieles, was die französische Küche so angesagt macht. Eine prima Einstimmung auf Paris, eines der Highlights dieser AIDA Kreuzfahrt.

Noch ein Tipp: Wer am Seetag das French Kiss oder ein anderes Restaurant (bis auf die Buffet-Restaurants) besuchen möchte, sollte besser vor der Reise in MyAIDA einen Platz reservieren. Das geht zwar auch an Bord, aber sicher ist sicher. Dies gilt übrigens auch für Wellness und Sauna.

Tag 3: ⚓️ Aufenthalt in Southampton von 9.30 bis 21.30 Uhr

Auf der Kreuzfahrt AIDA Metropolen ab Hamburg lässt sich auch ein Ausflug nach London machen.

Der erste richtige Hafen ist das südenglische Southampton. Hier hat man die Qual der Wahl zwischen mehreren Ausflugsmöglichkeiten. Die meisten Kreuzfahrer zieht es nach London. AIDA bietet verschiedene Möglichkeiten, die britische Hauptstadt zu erkunden: Mit dem Fahrrad, auf dem Wasser oder klassisch zu Fuß.

Die zweieinhalbstündige Busfahrt dorthin (gemessen bei wenig Verkehr) ist aber nicht jedermanns Sache. So finden sich auch Landausflüge in die nähere Umgebung. Nach Stonehenge zum Beispiel. Oder in das historische Winchester.

Tipp: Wer ganz und gar nicht in einen Ausflugsbus steigen möchte, kann Southampton auch sehr gut auf eigene Faust erkunden. Das Städtchen hat viel zu bieten – nicht zuletzt wegen seiner Verbundenheit mit der Titanic, die von hier aus in Richtung Amerika aufbrach.

Tag 4: ⚓️ Liegezeit in Le Havre von 9 bis 21.30 Uhr

AIDA Metropolen ab Hamburg führt über Paris, wo man den Eiffelturm besichtigen kann.

Le Havre ist das Tor zu Paris. Genau dafür nutzen die meisten Passagiere auch den Aufenthalt hier. Mit dem Bus geht es in die französische Hauptstadt. Dort bietet AIDA verschiedene Möglichkeiten an, die Stadt zu erkunden. Per Wasser und zu Land, mit dem Fahrrad und sogar mit einem Privatchauffeur. Der reizvolle Städtetrip hat jedoch auch seinen Preis: Über zehn Stunden dauert es, bis man wieder zurück auf dem AIDA Schiff ist.

Wer es etwas weniger anstrengend bevorzugt, für den finden sich auch in der näheren Umgebung von Le Havre attraktive Ausflugsziele. Zum Beispiel die berühmten Kreidefelsen von Ètretat, die sich hervorragend als Fotomotive eignen. Einer hat die Form eines Elefanten. Oder das bezaubernde Fischerstädtchen Honfleur mit dem Strandbad Deauville.

Tipp: Auf eigene Faust ist Le Havre übrigens nicht zu empfehlen. AIDA bietet jedoch einen Ausflug zu den hängenden Gärten an, die nach einer kurzen Fahrtzeit erreicht sind. Hier kann man dann ganz in Ruhe entspannen.

Tag 5: ⚓️ Zu Besuch in Zeebrügge von 10 bis 19 Uhr

Brügge ist eine sehenswerte Stadt auf der Route AIDA Metropolen ab Hamburg.

Zeebrügge ist ein Teil der malerischen Stadt Brügge. Absolut ans Herz legen möchte ich dir einen Rundgang durch diesen traumhaften Ort. Das mittelalterliche Flair von Brügge ist ein wohltuender Kontrast zu den beiden Metropolen der Vortage. Wer gestern den zehnstündigen Paristrip mitgemacht hat, wird sich über die Beschaulichkeit, Ruhe und den Charme Brügges freuen. AIDA bietet mehrere Ausflüge zu Fuß, mit dem Auto oder mit dem Grachtenboot an.

Tipp: Brügge ist auch ein schönes Ausflugsziel für Familien. Die Reederei bietet eine Schnitzeljagd in dieser historischen Kulisse an.

Wen es dennoch erneut in eine Big City zieht – schließlich sind wir ja auf der Metropolen-Tour – der erreicht die europäische Hauptstadt Brüssel in gut zwei Stunden mit dem Bus.

Tage 6 und 7: ⚓️ Rotterdam von 8 Uhr über Nacht bis 8 Uhr

In Rotterdam liegt das Schiff über Nacht.

In Rotterdam trifft überall alt auf neu. Historische Gebäude im Stadtinneren stehen neben modernen Wolkenkratzern. Mittelalterliche Brücken folgen auf neuzeitliche Stahlpylonen. Allein die Fahrt durch den Hafen – den größten Europas – dauert mehrere Stunden, bis das Schiff in Zentrumsnähe anlegt.

Rotterdam eignet sich bestens für eine Erkundung zu Fuß. Entweder auf eigene Faust oder mit einem der zahlreichen Angebote von AIDA. Hierbei kann man die Stadt mit einem Amphibienbus, stilecht mit dem Fahrrad oder mit dem Tuk Tuk erleben. Übrigens: In Rotterdam lässt sich auch sehr gut shoppen.

Etwa zwei Stunden entfernt liegt Amsterdam. Die Busfahrt führt entlang der niederländischen Küste und ist absolut sehenswert. Da man für Rotterdam noch den ganzen Nachmittag und bei Bedarf auch die ganze Nacht Zeit hat, bietet sich am Vormittag so ein Ausflug an.

Tag 8: 🏁 Zurück in Hamburg um 8 Uhr

Frühaufsteher kommen bei der Fahrt durch die Elbe auf ihre Kosten. Mit einem Kaffee in der Hand in Hamburg einlaufen – vorbei an mondänen Stadtvierteln und traditionsreichen Hafenanlagen. Dieses Erlebnis ist der krönende Abschluss der Kultkreuzfahrt AIDA Metropolen ab Hamburg.

AIDA Metropolen-Tour: Das erwartet dich an Bord

Das erwartet dich an Bord von AIDAprima - ein Kreuzfahrtschiff, das 2016 in Dienst gestellt wurde.

Was ist im Reisepreis enthalten?

  • Vorzügliche Mahlzeiten in den Buffet-Restaurants mit neuem Hygieneservice
  • Tischgetränke zum Frühstück (Kaffee), zum Mittag und Abendbrot (Wein, Bier, nicht alkoholische Getränke)
  • Trinkgelder für die AIDA Crew – sie freut sich trotzdem über einen Extrataler 😆
  • Deutschsprachige Ansprechpartner z.B. an der Rezeption
  • Erstklassige Bühnenshows und Unterhaltungsprogramm im Theatrium
  • Viele lauschige Plätzchen an Bord zum Entspannen, Lesen, Musik hören, genießen etc.
  • Hervorragend ausgestattetes Fitness-Studio
  • Freier Eintritt in Bars und Diskotheken
  • Während der Liegezeiten kann man jederzeit das Schiff verlassen und auf eigene Faust die Hafenstadt erkunden, was bei der Tour AIDA Metropolen ab Hamburg bei jedem Stopp möglich ist

Welche Ausgaben solltest du zusätzlich einplanen?

  • An- und Abreise zum und vom Schiff, falls nicht schon mitgebucht
  • Bei Anreise mit dem eigenen Auto Parkgebühren (z.B. bei diesem Anbieter direkt vor dem Cruise Terminal)
  • Ausflüge (eine Übersicht findest du hier )
  • Wellness-Behandlungen, Massagen, Sauna
  • Getränke an Bars und in Spezialitäten-Restaurants (nicht in den Buffet-Restaurants zu den Hauptmahlzeiten)
  • Einige Restaurants – wie z.B. das Steak House – sind kostenpflichtig (aber es lohnt sich)

Geht es auch ohne Aufpreis?

Natürlich kannst du die Reise buchen und nicht einen zusätzlichen Euro ausgeben. Du wirst einen tollen Urlaub haben, viel von Europa sehen und von der AIDA Crew an Bord sehr gut versorgt werden.

Jedoch ist es ohne gebuchten Ausflug schwer, in der knappen Liegezeit nach Paris oder London zu kommen. Ebenso wäre es sicher auch schade, beispielsweise den hervorragenden Wellness-Bereich der AIDAprima nicht einmal zu testen.

Wieviel Geld man ausgibt, bleibt natürlich jedem selbst überlassen. Einige Gäste, mit denen ich gesprochen habe, beherzigen die Faustregel: Die Hälfte des Reisepreises steht als Bordbudget zur Verfügung und wird für Ausflüge, Wellness, Getränke sowie fürs Shopping verwendet. Denn schließlich ist man ja im ⛱ Urlaub.

Reisetermine

Häufig gestellte fragen.

Diese Kreuzfahrt gehört seit Jahren zu den beliebtesten im Programm von AIDA. Fünf europäische Metropolen – darunter London und Paris – können während der sieben Tage dauernden Reise besichtigt werden. Zudem ist die Fahrt zum Schiff und wieder zurück nach Hause unkompliziert, weil kein Flug nötig ist. Dadurch ist diese Rundtour auch preislich sehr attraktiv. Keine Sorge, wenn die Sonne mal nicht scheinen sollte. Die AIDA Schiffe bieten genug Sehenswertes, um keine Langeweile aufkommen zu lassen.

Diese Kreuzfahrt dauert 7 Tage. Es werden 7 Nächte an Bord verbracht. Die Abfahrt ist am ersten Reisetag um 18 Uhr. Die Ankunft des Schiffes in Hamburg wird am 8. Tag der Reise gegen 8 Uhr erwartet.

Aktuell wird diese Kreuzfahrtroute von dem Schiff AIDAprima befahren. Die Schiffe können jedoch wechseln. Bitte die aktuellen Informationen auf der AIDA Website beachten.

Die Katalogpreise für diese 7-tägige Kreuzfahrt liegen bei etwa 1.000 € pro Person (p. P.) in einer Zweibettkabine. Im reduzierten Vario-Tarif sind diese Reisen für 700 bis 900 € p. P. buchbar. Gelegentlich bietet AIDA Schnäppchen-Aktionen an, bei denen man mit etwas Glück eine Kabine für 500€ p. P. ergattert. Dies ist jedoch meistens Reiseterminen in den kälteren Monaten vorbehalten.

Wer schreibt hier?

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AIDA Kanarische Inseln ab Gran Canaria Kultkreuzfahrt im Test

AIDA Kanarische Inseln ab Gran Canaria – Erfahrungen, Landausflüge und Highlights

Die Kanaren sind die Karibik Europas. Klar, dass auch AIDA hier eine Kultroute anbietet. Wir beschreiben die Kreuzfahrt ab/bis Gran Canaria und haben einige Tipps für dich.

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aida metropol tour

Metropolitan Opera 2022-23 Review: Aida

Metropolitan Opera’s Legendary Production Says Goodbye with Mixed Results

(Credit: Ken Howard / Met Opera)

Thirty-four years ago, Sonja Frisell’s monumental “ Aida ” production premiered at the Met to tremendous success. Not only did it become one of the company’s most beloved productions due to its elegant and epic sets that recreated Egyptian architecture. The production had horses, large crowds of people, and extravagant costumes. It was what operagoers wanted to see in opera and to this day continues to receive ovations.

But it’s 2022 and the production is having its final run at the Met and right off the bat, I must admit I have a lot of mixed feelings about the retirement of this production. Truth be told, I have never been a fan. I have never liked the awkward costumes nor the stiff blocking. I have always found that the revivals of “Aida” except for one or two have always been routine and most of the casts have been gobbled up by the gigantic sets.

But at the same time, I have always felt that the sets, especially on this night on Dec. 13, are gorgeous and unique and with a little bit of creativity from a revival director, and new costumes, this rendition doesn’t have to feel tired nor routine. Nor does this production have to go. It’s a production like many in the traditional landscape of opera that with a new perspective can feel alive. I have seen this in the Met’s “I Puritani” production where all it takes is a great diva and her creativity to the blocking to add excitement without needing to make any other scene changes. I’ve seen it in the Met’s “La Bohème,” which also benefits from unique performers bringing their charisma and magic to the stage. It doesn’t always work and when it doesn’t, there can be a dull effect (most of my experiences with this “Aida” production). But when it works, it can feel more genuine and exciting than the more safe “modernization” or simply “change for the sake of change” approach that has often come to the Met under general manager Peter Gelb.

And yet, during this production, I couldn’t help but feel that the production did feel routine and tired and that management’s desire to change it felt justified.

Not so Epic

If I had to describe the overall feeling of this performance it would be stiff and slow. To be fair, things have been tough at the Met of late. The cyberattack shut down the company’s main communication systems and forced a complete reshuffle of how things operate. Tickets were sold on other websites and seating was on a first-come-first-serve basis. So things didn’t quite feel comfortable at all. That this affected the company on the whole, there is no doubt, and so some allowance can be made for this performance overall.

But from the two 40-minute intermissions each side of 35-minute acts, to the robotic staging of the large ensembles, it often felt like this production had more to give with everyone involved stifled and smothered in some way. There was even an emblematic moment during the big triumphal scene where the lively horses looked extremely uncomfortable and constantly made signs that they wanted to move (major props to the handlers for keeping them calm) even though they had to stand still.  

And then there were the costumes, always a source of frustration for me. The supernumeraries wore wigs that looked incredibly unfit while the leads often looked weighed down by their outfits. The women’s chorus, who were dressed in white cloaks and Egyptian wigs seemed outdated and the male supernumeraries came in with a white cloth that looked unfinished. Something about it all felt a bit rushed.

A lot of this can be overlooked, as I noted earlier, when the leading artists come in and take control. This wasn’t one of those nights.

Uneven Leads

The leading performers of this evening were a mixed bag. It started with Michelle Bradley, singing the title role after Latonia Moore canceled all of her scheduled performances, following the opening night.

Bradley possesses a beautiful and potent voice coupled with an incredible stage presence. However, her titanic soprano sounded uneven and lacking in flexibility and her characterization of the titular character was somewhat lacking.  

Her “Ritorna Vincitor” began with strained top notes and choppy phrasing. Then in the “Numi pieta,” she rushed through the section. While she did deliver some beautiful pianissimo lines, there were times where she cut off those lines short and sounded a bit out of breath.

During the duet with Amneris, Bradley showed some fierce sound though there was a general lack of spontaneity in her reactions to the scene; it all felt very planned. To be fair to Bradley, she was performing with a new Amneris after two performances with a different singer. But that lack of chemistry dulled the tension of one of the opera’s greatest scenes. At the end of the duet, when she sang the reprisal of “Numi pieta,” the sound was a bit squeezed. These moments were all the more frustrating because a few moments later, she held her final note out with tremendous authority. And what’s more, the ensuing scene saw Bradley at her best as she sang with potent power and cut through the entire orchestra and chorus. 

But then comes arguably the most challenging scene for the soprano in this opera – the Nile scene. The soprano must traverse emotional extremes. Once again, it wasn’t always there. Her “O Patria Mia” showcased a gorgeous tone especially in “O fresche valli, o queto asil beato, Che un dì promesso dall’amor mi fu” where we got to hear the hushed and subtle tones that Bradley can produce. However as she had to reach the higher parts of her voice and attempted to sustain a piano and mezzo forte sound, the voice sounded strained and squeezed. Her climactic high C had some intonation issues and when she began a higher phrase with a piano sound she quickly cut it off. And that was most evident when she ended the aria. She started the final note pianissimo before crescendoing to a forte; however, she abruptly cut it off.

The staging and performance choices of the ensuing scene with Amonasro created an awkwardness in the scene with Bradley seemingly looking away from baritone Quinn Kelsey almost the entire time. But that said, her voice exploded with power and you could sense the fear during the lines “Ciel! mio Padre!” There was passionate yearning in her “Rivedrò le foreste imbalsamate” and terror, both in her voice and on her face, as Kelsey’s Amonasro, cursed her. Her “Orrore!” and subsequent “Che mi consigli tu? No! no! giammai!” only enhanced this feeling of pain, her “pietas” and “Ahs!” were true pleas that really resonated emotionally.

But in the second half of the duet, where Verdi slows the tempo and where Aida pleas with her father, Bradley sounded uncomfortable with the tempo. Her “Padre, a costoro schiava non soon…” was immaculately sung but lacked that same energy and passion from the preceding section.

That disconnect that ended the duet was also present in her duet with her tenor Brian Jadge. Unfortunately, throughout the night there was no chemistry between the two singers and while Bradley sang nicely, the tone continuously lost brightness. The higher notes and the pianissimo extensions were choppy and the high notes were strained and had intonation issues. Toward the final trio with Amonasro, her voice seemed tired and the resonance was also lost.

Speaking of Jagde, the tenor also had a mixed evening as Radamès. Over the past years, he has become a fixture with the company as he possesses a potent voice with a bright sound. It is a rare tenor voice that is not common at this New York house and a welcome one. 

The tenor can deliver the stentorian sound and cut through the orchestra, which was evident during the opening trio “ Ohimè! Di guerra fremere” and during the large concertatos “Su! del Nilo al sacro lido” and “Gloria in Egitto.” His voice shined with power and authority. Vocally, he was undoubtedly a proud and powerful hero in these moments. That strength and muscularity worked during the heroic entrance “Pur ti riveggo mia dolce Aida” and in the “Sì, fuggiam da queste mura” where he delivered bright, sustained, and resonant high notes. His duet with Amneris also benefited from the robust sound as it expressed a sense of desperation and defiance. In his opening “Di mie discolpe i giudici,” Jadge showed a vibrant middle voice that while sometimes had some choppy phrases, easily flowed into his higher tessitura.

While Jadge had these thrilling moments there was an unevenness in his performance. For one he lacked chemistry with Bradley which made for an awkward Act three and Act four duet, both blocking-wise and vocally. And speaking of the stage blocking, it seemed as if Jadge had been told to stand in the same position throughout the first half of the opera, which amounted to the singer looking a bit lost on stage.

And then there was sometimes a lack of nuance for many of Verdi’s more lyrical lines. “Celeste Aida” is perhaps one of the hardest arias for any tenor as it is not only at the beginning of the opera but it requires the artist to be immediately able to shape the lyrical aria with flexibility. The tenor must immediately express himself as the galant warrior and tender lover. Jadge demonstrated immaculate high notes but seemed to have a hard time with the legato line. The tone seemed to maintain the same dynamic and many of the lines sounded a bit choppy. He also sounded uncomfortable with the tempi, often finding himself ahead of the orchestra. 

Things were similarly sloppy during the Act three duet with Aida. The lyrical section “Sovra una terra estrania,” which begins with a more lyrical line and slowly builds to a more climatic and anguished tone before reverting to the softer tones, also lacked a wealth of dynamics. It didn’t help that his and Bradley’s voices didn’t match in any way. In the final act which begins with “La fatal pietra sovra me si chiuse…,” Jadge did shape the opening lines with a smoother and hushed tone that finally displayed a very different color palette. It finally gave us an introspective Radamès. But that was quickly overtaken by his more heroic tone in “O Terra Addio” which, despite being consistently marked piannissimo in the score, sounded forte throughout.    

In the role of Amneris, Anita Rachvelishvili was returning to the Met following a series of canceled productions over the past year . The mezzo has been open about her struggles after giving birth and this was just the second production that the mezzo sang since she returned to the stage. Rachvelishvili continues to be one of the most exciting performers in the business and on this return, she gave it her all, displaying an imposing personality in her scene with Aida in Act two and even seemingly dominating the entire moment as she relished every insult at Bradley’s Aida. The Act four scene with Radamès brought out the mezzo’s despair and her desperation in trying to save her beloved. You could see her dominance crumble on the stage as she begged Van Horn’s Ramfis for “pieta.” In her final moments on stage during the final duet, Rachvelishvili’s face conveyed pain and loss as she sang the repeated “paces,” each time with more resignation.

Then there were the extremes of her voice. Rachvelishvili dug into her chest voice producing very resonant and gritty tones, especially in the duet with Aida and in her duet with Radamès. You could hear it in the phrases “Dalla sorte che t’aspetta?” and “De’ miei pianti la vendetta, Or dal ciel si compirà.” During these duets, she relished the lower tones and she shined. 

But unfortunately, it was not enough. Amneris’ tessitura is asked to get up to the highest reaches of the mezzo voice and this is where Rachvelishvili sounded most uncomfortable. In the duet with Radamès, Amneris has two climactic high B flats on the lines “ciel si compirà.” Rachvelishvili never truly reached those notes and instead she produced a raspy sound and quickly cut the phrase short. While I never make much of high notes, here Verdi’s music drives towards these notes as they are Amneris’ plea to Radamès. Without them, the music loses momentum. And that is what happened throughout the duet. The same could be said at the end of her scene with the final “ Anatema su voi,” which was also cut short. In Act two, Rachvelishvili’s “Ah! Vieni, amor mio, m’inebria, Fammi beato il cor!” was sung with hesitation as the opening higher notes seemed to have a slight wobble and lacked flexibility. Still, the mezzo tried to phrase with delicacy, and with each repeat of this phrase, the tone seemed to warm up and obtain a lighter tone.

For all the mezzo’s mishaps on this evening, she did have one incredibly strong moment and that was her “Ohime!..morir mi sento.” Here she sang with nuance and introspection. Rachvelishvili phrased it with care and some gorgeous tones. Once again she took advantage of her chest voice to really bring out the pain of her Amneris and show her vulnerability.

Extraordinary Evening

But let’s end on a more positive note – Quinn Kelsey. The baritone seems to be singing some of his best performances of late, following an unforgettable “Rigoletto” earlier this season . On this evening he was reprising his acclaimed Amonasro and sang with the abandon and intensity that was often missing elsewhere. His opening phrases in Act two, “Quest’assisa ch’io vesto vi dica, Che il mio Re, la mia patria ho difeso” were filled with force and vigor as he seized control of the scene. His lines in the final concertato “Fa cor: la tua patria, I lieti eventi aspetta,” were sung with such clear diction that you could feel Amonasro’s aggressive cunning.

But his big moment came in Act three in his great duet with Aida. This Amonsaro came onto the scene with power and authority. Kelsey moved around Michelle Bradley almost in a snake-like manner and while he did demonstrate some tenderness in his opening phrases, his voice remained authoritative and booming. You always felt there was more beneath the surface and that added tremendous tension to their musical exchange. That something came to the fore as the duet ensued, with Kelsey’s singing more hard-edged; “Su, dunque! sorgete” had a very pronounced staccato and impeccable diction. His “Mia figlia ti chiami” was particularly ominous. Then as he pronounced “Non sei mia figlia! Dei Faraoni tu sei la schiava!,” he emoted the words with vigor, his sound exploding in the hall. In the second half of the duet, the vocal tenderness returned as he sang “Pensa che un popolo, vinto, straziato, Per te soltanto risorger può.”

Kelsey ended the evening with an act of fury as he took Radamès’ sword and sang “Oh rabbia!” While the staging of this moment has often been clumsy in my experiences, Kelsey’s command here added excitement to the scene.

Solid Support

The evening also counted on a solid performance by Christian Van Horn as Ramfis who sang with his trademark robust bass. He came across as a dutiful priest in command of each scene.

In the role of the Priestess, Brittany Olivia Logan sang with a gorgeous tone. However, it was clear the tempos in her solo were too quick, leading her solid legato phrases to sound detached.

As the King, Alexandros Stavrakakis sang with a potent voice, while Matthew Cairns demonstrated a beautiful timbre as the messenger.

In the pit, Paolo Carignani led a swift Aida. His prelude was lush and relished in beautiful string sounds. In many of the arias, he accompanied the singers expertly, giving them the space to shape their lines. That said, the ensemble work, like the opening trio, the triumphal scene, and the Act one concertato, was sloppy and the conductor fell behind many times, creating unease between the soloists and the orchestra. Then there were the awkward tempi, most notably during “Possente Fthà.” The initial tempo was so fast that it rushed the soloist (Brittany Olivia Logan). But then, during the choral interlude “Tu che dal nulla hai tratto,” he shifted to an abrupt slowdown, making the experience rather jarring and creating unevenness. The score itself, marked Andante con moto, has no indication of a sudden tempo shift, and the tempo marking remains the same until it shifts to Allegretto during the Sacred dance of the priestesses.

In all, the Met’s final run of Sonja Frisell’s “Aida” was not entirely satisfying. Let’s wait and see what the next production has to offer.

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Aida - The Metropolitan Opera (2022-2023) - Aida - The Metropolitan Opera (2022-2023)

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General Information

  • Production title: Aida - The Metropolitan Opera (2022-2023)
  • Creation date: 2012
  • Work - Composer: Aida  -  Giuseppe Verdi
  • Opera house: The Metropolitan Opera.

Description

Revival of the production of Sonja Frisell created in 1988, already revived in 2012 , 2016-2017 and 2018-2019 .

More information is available bon the official website of the opera house .

December 02, 2022 19:00:00

December 06, 2022 19:30:00

December 10, 2022 20:00:00

December 13, 2022 19:30:00

December 17, 2022 20:00:00

December 21, 2022 19:30:00

December 27, 2022 19:30:00

January 03, 2023 19:30:00

January 07, 2023 13:00:00

April 27, 2023 19:30:00

April 30, 2023 15:00:00

May 06, 2023 20:00:00

May 10, 2023 19:30:00

May 13, 2023 13:00:00

May 18, 2023 19:30:00

Sonja Frisell

Paolo Carignani

Latonia Moore

Michelle Bradley

Brian Jagde

Marcelo Álvarez

Olesya Petrova

Anita Rachvelishvili

Christian Van Horn

Quinn Kelsey

George Gagnidze

Alexandros Stavrakakis

Krzysztof Bączyk

Work's characters list

Metropolitan Opera: Aida Tickets

Verdi’s vision of ancient Egypt is grandly realized with the help of the Met’s unparalleled musical forces.

This show is closed.

Performances ended on Mar. 7, 2019.

About Metropolitan Opera: Aida on Broadway

Cast & creative.

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  • Metropolitan Opera: Aida on Broadway

NORTH AMERICAN TOUR BEGINS 2021

Aida On Tour Logo

A Love Story Written in the Stars

The new yorker says “disney’s done it again”.

The winner of four Tony ® Awards returns to the stages of North America! With a Grammy ®  and Tony Award-winning score by the legendary Elton John and Tim Rice and a revised book by Tony Award-winning playwright David Henry Hwang, the hit Broadway musical AIDA returns to the stage in a thrilling new production. The producers of THE LION KING and FROZEN have reunited the original Tony Award-winning design team of Bob Crowley (scenery and costumes) and Natasha Katz (lighting) to reinterpret their designs in the retelling of this passionate and timeless story for today’s audiences.

Directed by Schele Williams, choreographed by Camille A. Brown and musical supervision by Tony Award-winning Jason Michael Webb, AIDA is a compelling tale of star-crossed lovers belonging to feuding nations, torn between their conflicted loyalties to their countries and to each other. With its stirring contemporary score and its powerful love story, AIDA reveals that we have the power to change history, but only when we make brave choices and embrace our destiny.

Click Here To Read The Full Press Release

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Disney Theatrical Productions Announces North American Tour for ‘AIDA’

Disney Theatrical Productions Announces North American Tour for 'AIDA'

Disney Theatrical Productions Announces North American Tour for ‘AIDA’. Disney Theatrical Productions (under the direction of Thomas Schumacher) proudly announces the launch of a new North American tour of Elton John and Tim Rice’s Tony®-winning Broadway smash Aida , following the premiere at Paper Mill Playhouse, February 4 – March 7, 2021.

A passionate and timeless story for today’s audiences, Aida is the compelling tale of star-crossed lovers belonging to feuding nations, torn between their conflicted loyalties to their countries and to each other. With its stirring contemporary score and its powerful love story, Aida reveals that we have the power to change history, but only when we make brave choices and embrace our destiny.

The show’s producer Thomas Schumacher, President & Producer Disney Theatrical Productions said,  “Schele Williams, David Henry Hwang and the team have cracked the show open in new ways to bring the story into today’s world while honoring what fans have cherished for 20 years: rich characters, gorgeous designs and those extraordinary songs.”

“ Aida is in my DNA in ways I had never imagined until I began the journey for this production,” said Schele Williams. “I have a rich history with the show that I am very proud of, but when I recently made some discoveries about the history of its time period, the show broke open for me. It truly is the butterfly effect; subtle shifts have taken a story I love and turned it into an adventure I can’t wait for audiences to discover. David Henry Hwang has crafted a book that truly shapes this journey and Elton John and Tim Rice’s score is the glorious foundation we have built upon. I am thrilled to be in collaboration with David Henry Hwang, Camille Brown, Jason Michael Webb, Bob Crowley, Natasha Katz, Michael McElroy, Zane Mark, Jim Abbott and the Sirs, Tim Rice and Elton John .  All extraordinary storytellers unified in vision to revive a musical that is deeply meaningful to all of us.”

The production will play Charlotte, Chicago, Fort Worth, Kansas City, Los Angeles, Nashville, Philadelphia and Washington, D.C., among other cities to be announced. To receive news about the Aida North American tour, please sign-up for email alerts at AidaOnTour.com .  For information on the Paper Mill run, visit PaperMill.org . Be sure to check back here at Chip and Co. for updates and all things Disney!

Disney Theatrical Productions Announces North American Tour for 'AIDA'

Featured Photo Credit: Disney Theatrical Productions

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An independent show guide not a venue or show. All tickets 100% guaranteed, some are resale, prices may be above face value. We're an independent show guide not a venue or show. We sell primary, discount and resale tickets, all 100% guaranteed prices may be above face value. We are an independent show guide not a venue or show. We sell primary, discount and resale tickets, all 100% guaranteed and they may be priced above or below face value.

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Lincoln Center, 70 Lincoln Center Plaza, New York, NY 10023

Metropolitan Opera - Aida Poster

Metropolitan Opera - Aida

4.5 star rating

Prices from: $90

January 4 - March 29, 2025

A new staging for The Met's Aida from Michael Mayer!

Why See Metropolitan Opera - Aida?

Classical & Opera

The Masterpiece returns In A Brand New Staging

The Egyptian-inspired epic returns to delight audiences once more as part of the Metropolitan Opera's 2024/25 season. The story of an Ethiopian princess caught in a love triangle with the heroic Radames, be swept up by Verdi's monumental score and the shimmering glory of this exciting, brand-new staging from Michael Mayer!

What is Aida about?

Set in Ancient Egypt, the story centers around the conflict between forbidden love and hatred for one's enemies. Aida, a seemingly lowly Ethiopian slave girl is in love with her Egyptian captor Radames, a distinguished warrior on the battlefield. Unbeknownst to everyone, she is the captured princess from Ethiopia, whose furious father is on his way to rescue her, laying waste to Egypt in his path.

Adding to the danger is Amneris, the Egyptian princess, who, despite her intense love for Radames, cannot shake the feeling that the mysterious Aida just may be her rival in love...

show content

Additional Information

Opening night: 4 January 2025

Sung in Italian with English, German, Spanish and Italian Met Titles. Images used are from a previous production of Aida.

Three hours and 45 minutes, with two intermissions

You may be required to wear a mask during this performance. Please contact the venue directly for more information.

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Review: The Met Opera’s Grand Old ‘Aida’ Isn’t Dead Yet

But opening night of the huge production’s final run, shakily cast, presented a show that seemed to be begging to retire.

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A singer, dressed as an ancient Egyptian princess, at the front of the Metropolitan Opera stage against a backdrop of towering beige sets of an Egyptian temple, occupied by a group of performers dressed as priests.

By Zachary Woolfe

“I’m not dead!” a decrepit old man croaks as he’s carried toward a cart full of corpses in “Monty Python and the Holy Grail.” “I feel fine!”

It turns out the Metropolitan Opera’s 34-year-old production of “Aida” is not dead yet, either. This is something of a medical miracle. Early in 2019 , the Met announced that its huge, old-fashioned staging of Verdi’s classic was in the midst of its final run; the 2020-21 season was to open with a new take.

Well, we all know what happened to the 2020-21 season, and the new “Aida” along with it. So the sturdy old standby has been brought back — Bob-Iger-at-Disney style — as a crowd-pleasing placeholder before the next production is introduced in two seasons, starring the soprano Angel Blue.

I admit it: I’ll miss the director Sonja Frisell’s “Aida,” its sun-baked hieroglyphics and torchlit temples. It exudes much the same Reagan-era excess as “The Phantom of the Opera,” which also premiered in New York in 1988 and is also currently saying goodbye to the city. (And which, because of boffo sales after its closing was announced, also got a little reprieve , in the form of an eight-week extension.)

Egged on by its imminent disappearance, I saw “Phantom” for the first time last month. The spectacle was lovable, but the singing was pretty rotten and the whole operation felt tired.

Sadly, that wasn’t so different from my reaction to the opening of “Aida” on Friday. At its supposed farewell in 2019, there was an impressive spirit to the show and cast that made you feel the Frisell staging had life in it yet. But on Friday, signs pointed to a production quietly begging to retire.

Rather than gradually, atmospherically rising, the lights on the tomb in the final scene suddenly clicked on, as if someone had flicked a switch. In the Triumphal Scene, a horse-drawn chariot caught on a looming set piece, scarily dragging it forward before being disentangled. This seemed to spook one of the horses, which started violently bridling, to snickers from the audience.

You got the feeling that the show kept needing to be coaxed back onstage. Gianni Quaranta’s grandiose set demands two intermissions, each longer than the Met’s standard half-hour; but on Friday, both lingered even more bewilderingly than usual, stretching a two-and-a-half-hour score into an evening of more than four hours.

The cast wasn’t more encouraging in enacting Verdi’s intimate love triangle, which plays out amid the sprawling context of war between ancient Egypt and Ethiopia. Only the sensibly sturdy bass Alexandros Stavrakakis, in the small part of the Egyptian king, was fully satisfying.

As the high priest Ramfis, the forceful bass-baritone Christian Van Horn’s tone, grayish at first, did gain warmth and color as the performance went on. And as the jealous princess Amneris, the mezzo-soprano Olesya Petrova delivered a stout, passionate climactic Judgment Scene after an unsettled start to the opera.

But the baritone George Gagnidze, as Aida’s father, Amonasro, sounded squeezed throughout the evening. And the tenor Brian Jagde bellowed out unflagging but unlyrical sound as Radamès, the warrior torn between his love for Aida and his duty to his country.

Most worrying, despite some effusive high notes and a sympathetic presence, the soprano Latonia Moore sounded ragged in the title role, her voice weakening by the ends of phrases, separated by big gulps of breath. “O patria mia,” Aida’s great Act III aria, was crooned and disjointed.

While the conductor Paolo Carignani, who kept the orchestral textures clear on Friday, presides over the whole run this season, shifting rosters of singers will perhaps spice things up. Michelle Bradley takes over as Aida next month, overlapping with the commanding Anita Rachvelishvili , who returns to the Met as Amneris on Dec. 13 for six performances. Luca Salsi and, especially, Quinn Kelsey are promising interpolations as Amonasro for a handful of performances each this winter. Marcelo Álvarez sings Radamès in the spring, 25 years after his Met debut.

As for the new “Aida” coming in a couple of seasons, it will be directed by Michael Mayer, best known for his work in theater, like the fusty “Funny Girl” currently on Broadway. For some reason, he has been tagged by the Met as a Verdi specialist. His 2013 “Rigoletto,” since replaced, jazzily but incoherently updated the story to 1960s Las Vegas. Even worse is his “La Traviata,” which drowns in garish theme-park-princess crinolines even talented artists like the full-voiced soprano Nadine Sierra earlier this season.

So it’s with some trepidation that I say — one more time, with feeling — goodbye and thank you to the Frisell “Aida,” one of the company’s last remaining connections to an era of applause-garnering sets and regularly sold-out houses. But the inescapable message on Friday: It’s time.

Continues through Jan. 7, and again in April and May, with different casts at the Metropolitan Opera, Manhattan; metopera.org .

Zachary Woolfe became The Times’s classical music critic in 2022, after serving as classical music editor since 2015. Prior to joining The Times, he was the opera critic of the New York Observer. More about Zachary Woolfe

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Allgemeine Tipps für Landgänge auf der AIDA Metropolentour im Winter

Achtung, jetzt wird's technisch.

March 09. 2024 - April 07. 2024

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Saturday 03/23/2024 7:30 PM

Starting at $99

Tuesday 03/26/2024 7:00 PM

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Friday 03/29/2024 7:00 PM

Starting at $79

Monday 04/01/2024 7:00 PM

Thursday 04/04/2024 2:00 PM

Starting at $69

Sunday 04/07/2024 2:00 PM

New-to-Chicago production Aida

Giuseppe verdi.

Opera at its grandest! While Aida delights audiences with its visual splendor, it also captivates them with a score ranging from exquisitely intimate arias to deeply dramatic duets and trios, and the most thrilling choruses Verdi ever composed. At Lyric Opera of Chicago, each of the five principal artists boasts not only a sumptuously beautiful voice, but also the charismatic presence to bring these characters and the opera's story of a riveting love triangle vividly to life. Conducting Francesca Zambello’s striking production will be Music Director Enrique Mazzola, acknowledged internationally as an exceptionally authoritative Verdian.

  • Language: Sung in Italian with projected English titles
  • Running Time: 3 hours, including 1 intermission
  • Location: Lyric Opera House
  • View Full Calendar

Lyric’s presentation of Verdi’s Aida is generously made possible by an Anonymous Donor , The Julius Frankel Foundation ,  Mary Patricia Gannon Trust,  Mr. and Mrs. William C. Vance , Liz Stiffel , Willkie Farr & Gallagher LLP , and ITW .

Maestro Enrique Mazzola is generously sponsored by Alice & John Butler, H. Gael Neeson, Sylvia Neil & Daniel Fischel , and the Robert and Penelope Steiner Family Foundation as members of the Enrique Circle.

Athletico is the official provider of physical therapy for Lyric.

Michelle and Russell on the secret relationships in AIDA

Soprano Michelle Bradley (Aida) and Tenor Russell Thomas (Radamès) are back sharing the stage at Lyric Opera of Chicago. In this conversation, they share their thought process behind their characters' challenging relationships in Verdi’s AIDA

Audiences react to Verdi’s AIDA

An all-star cast, recognizable music, dreamy ballet, and the epic Lyric Opera Chorus and Orchestra. See what audiences are saying about Francesca Zambello’s, new-to-Chicago production of Verdi’s Aida onstage at Lyric now through April 7.

Lyric Opera of Chicago presents Verdi's AIDA

Opera at its grandest! While Aida delights audiences with its visual splendor, it also captivates them with a score ranging from exquisitely intimate arias to deeply dramatic duets and trios, and the most thrilling choruses Verdi ever composed. 

Jessica Lang on the dance of AIDA

Step inside the rehearsal room with acclaimed choreographer Jessica Lang as Lyric's dancers prepare for the triumphant return of Aida . See Verdi's iconic story told through music and dance, onstage at Lyric March 9 - April 7.

Enrique Mazzola on the epic music of Verdi's AIDA

"There is only Aida that is like Aida ."

From epic choral scenes to intimate duets, Music Director Enrique Mazzola shares why Giuseppe Verdi's opera is unlike any other. See the Maestro conduct his first-ever Aida , opening March 9 at Lyric Opera of Chicago.

Russell Thomas performs "Celeste Aida" from Verdi's AIDA

Hear world-renowned tenor Russell Thomas perform “Celeste Aida” from Verdi’s Aida .

aida metropol tour

Finding Home in AIDA: An Exploration of Otherness and Belonging

Opera Insights

The event is moderated by WFMT host and Hearing in Color founder LaRob K. Rafael and features a panel of Aida principal cast members, Jamie Barton, Russell Thomas, and Reginald Smith, Jr. This illuminating discussion will feature panelists diving deep into the central themes of conflict and factionalism, Verdi’s attempts to musically depict ancient Egypt, and the lessons that contemporary audiences can learn from one of Verdi’s most famous operas.

Free and open to the public with advance registration. Registration is not required for ticket holders to the 3/13 performance.

Pre-opera talk

Speaker: colin ure.

Join us in the Ardis Krainik Theatre one hour before your opera performance begins for a free, 30-minute preview talk discussing that day’s production.

Seating is unreserved, but a ticket for that day’s performance is required. Talks begin one hour before each performance and doors open approximately 15 minutes before the start of the talks.

Pre-opera talks are supported by Raynette and Ned Boshell.

A recorded version of the Pre-opera talk is available below. 

© 2023/24 Lyric Opera Commentaries. All rights reserved. The music featured is generously furnished by Warner Classics.

Lyric Opera Commentaries are sponsored by the Patrick G. and Shirley W. Ryan Foundation in memory of their parents.

aida metropol tour

Aida commentary by Colin Ure

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aida metropol tour

Russell Thomas as  Radamès and Michelle Bradley as Aida.

Photo: Todd Rosenberg

aida metropol tour

Jamie Barton as  Amneris, Michelle Bradley as Aida, and the company of  Aida .

aida metropol tour

Önay Köse as Ramfis, Russell Thomas as  Radamès, and the company of  Aida .

aida metropol tour

The company of  Aida .

aida metropol tour

Önay Köse as Ramfis.

aida metropol tour

Michelle Bradley as Aida.

aida metropol tour

Russell Thomas as Radamès , Jamie Barton as Amneris, and the company of  Aida .

Photo: Robert Kusel

aida metropol tour

Önay Köse as Ramfis, Wm. Clay Thompson as King, and the company of  Aida .

aida metropol tour

Kathryn Henry as Priestess and the company of  Aida . 

aida metropol tour

The company of  Aida . 

aida metropol tour

The company of Aida .

aida metropol tour

AIDA, the chamber opera

aida metropol tour

Aida: war, enemy of love

aida metropol tour

The cast and characters of Verdi's Aida

aida metropol tour

Spotlight on Russell Thomas

aida metropol tour

Get to know: Verdi's AIDA

aida metropol tour

Enrique Mazzola's season of firsts

aida metropol tour

Flights of fancy and soaring melodies

aida metropol tour

Marvelous Maestri of the 2023/24 Season

Michelle Bradley

Michelle Bradley

The American soprano, a 2018 graduate of the Lindemann Young Artist Development Program, is beginning to garner great acclaim as one of today’s most promising Verdi sopranos.

Jamie Barton

Jamie Barton

Russell Thomas

Russell Thomas

Radamès

American tenor Russell Thomas is one of today’s most admired and stylistically versatile artists on the world’s most important stages.

Reginald Smith, Jr.

Reginald Smith, Jr.

Baritone Reginald Smith, Jr. made his Lyric Opera debut as Senator Charles Potter, Gen. Arlie, Bartender/ Fellow Travelers (2017|18)

Önay Köse

Önay Köse *

Önay köse.

Wm. Clay Thompson

Wm. Clay Thompson ***

Wm. clay thompson.

Ryan Opera Center Ensemble

Second-year Ryan Opera Center bass Wm. Clay Thompson is from Lexington, KY.

Kathryn Henry

Kathryn Henry ***

Kathryn henry.

Second-year Ryan Opera Center soprano  Kathryn Henry  is from Sheyboygan, WI.

Alejandro Luévanos

Alejandro Luévanos ***

Alejandro luévanos.

Second-year Ryan Opera Center tenor Alejandro Luévanos was born in Durango, Mexico. 

Enrique Mazzola

Enrique Mazzola

Conductor (Mar. 18 - Apr. 1)

As of July 1, 2021, Italian conductor Enrique Mazzola is music director of Lyric Opera of Chicago. He is only the third person to serve in this capacity at Lyric, following the tenures of Sir Andrew Davis and the late Bruno Bartoletti.

Francesco Milioto

Francesco Milioto

Conductor (Apr. 4 & 7)

Francesca  Zambello

Francesca Zambello

The American director is internationally recognized in both opera and theater.

Michael Yeargan

Michael Yeargan

Set Designer

He has created sets (and sometimes costumes) for many major American companies, among them the Metropolitan Opera (12 productions to date) and San Francisco, Los Angeles, Houston, Dallas, Seattle, and Washington opera companies, as well as the Glimmerglass Festival, Welsh National Opera, Scottish Opera, Frankfurt Opera, and Opera Australia.

Anita Yavich

Anita Yavich *

Costume Designer

Anita Yavich

Mark McCullough

Mark McCullough

Lighting Designer

Mark McCullough's Lyric credits include West Side Story (2018|19) and Porgy and Bess (2008|09, 2014|15).

Michael Black

Michael Black

Chorus Director

Chorus Director and Head of Music

Michael Black has served Lyric Opera of Chicago since the 2013/14 Season.

RETNA * ARTISTIC DESIGNER

JESSICA LANG * CHOREOGRAPHER

* Lyric debut *** Ryan Opera Center Ensemble ** Ryan Opera Center alum

Program book

Go inside this production of  Aida  with engaging articles, notes from the director, a complete plot synopsis, artist bios, and more.

DOWNLOAD PROGRAM BOOK

A co-production of San Francisco Opera, Washington National Opera, Seattle Opera, and Minnesota Opera.

Header image: Edward Wilensky/San Diego Opera

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Kreuzfahrt: Stammgast erhält plötzlich Hausverbot – sogar sein Anwalt ist schockiert

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Nach einer Kreuzfahrt erteilt Aida Cruises einem langjährigen Stammgast Hausverbot. Der Urlauber und sein Anwalt sind schockiert.

Fünf Dinge, die du noch nicht über Aida wusstest

Seit 1996 schippern die Aida-Kreuzfahrtschiffe über die Weltmeere. Wir haben fünf Fakten gesammelt, die du noch nicht über Aida wusstest.

Kreuzfahrt: Falsche Behandlung von Arzt an Bord

Schon über 50.000 Euro hat der 33-jährige Stammgast Daniel S. bereits für Kreuzfahrten mit Aida ausgegeben. Für ihn ist es dabei jeden Cent wert gewesen. Doch auf seinen letzten Reisen an Bord lief nicht alles rund. Im Dezember 2022 biss er in ein selbstgemachtes Brot der Reederei, in dem sich ein Stein befand, der seinen Zahn brach. „Im Hospital kam es zu einer Fehlbehandlung, bei der versehentlich Spülmittel statt destilliertem Wasser in mein CPAP-Gerät gefüllt wurde“, erzählt der enttäuschte Passagier MOIN.DE.

Auch interessant: Kreuzfahrt: Aida schraubt die Preise nach oben – ausgerechnet beim beliebtesten Angebot

Er bemerkte das unhygienische Verhalten einiger Gäste an Bord und beschwerte sich beim Personal. Diese seien jedoch äußerst unfreundlich gewesen und hätten seine Beschwerden nicht ernst genommen. Dies und die zahlreichen Änderungen der Route während der Reise veranlassten ihn zu einer Kritik an den Kundenservice.

Hausverbot wegen Kritik?

Doch auch der Kundenservice nahm seine Beschwerden nicht für voll. „Aber auch die Mitarbeiter dort waren genervt und wollten nicht darüber sprechen. Schließlich sagte mir einer der Mitarbeiter am Telefon, dass ich mit einer anderen Reederei fahren sollte. Das hat mich schockiert. Kurz darauf erhielt ich dann das Hausverbot“, erzählt Daniel MOIN.DE.

Das könnte dich auch interessieren:

Auf dieser Kreuzfahrt erlebten die Passagiere einen echten Alptraum.

Daniel S. wurde in einem telefonischen Gespräch und per E-Mail dazu aufgefordert, keine Reisen mehr mit Aida Cruises zu buchen. Einen Grund für diese drastische Maßnahme nannte Aida Cruises nicht. Auch sein Anwalt Manuel Novak ist schockiert über diesen krassen Schritt. Das Verhalten der Reederei ist seiner Meinung nach nicht angemessen. Was genau er zu dem Fall gesagt hat und welche Schritte er eingeleitet hat, kannst du in diesem Artikel von MOIN.DE nachlesen.

Daniel S. jedenfalls freut sich bereits auf seine nächste Kreuzfahrt – diesmal mit MSC.

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A BRUNCH WORTH GETTING UP FOR! - Metropol Restaurant

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“A BRUNCH WORTH GETTING UP FOR!” Review of Metropol Restaurant

aida metropol tour

Metropol Hall is an amazingly beautiful large room with lots of decoration, a marble fountain in the middle and a stained glass atrium ceiling that lets in soft, sunny light. Lots of tables, but not too close together, set up for fine dining, with relatively comfortable seating. It's worth going here just to see the room. But the buffet spread was great too! There is an omelet station with farm-fresh eggs (for some reason, eggs are better than most in the U.S., darker yolks) and they make great omelets and scrambled eggs (not too oily, like some places). There are crepes and pastries, fruits, meats and cheeses, yogurts, oatmeal - the usual brunch fare, but everything was fresh and very good quality. To add to the ambience, there was a harp player at the front of room playing classical music. A wonderful and elegant dining experience.

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58 - 62 of 338 reviews

I visited Moscow recently and as I was in the city for an extended stay I did not reside at the Metropol. However, I remembered the wonderful buffet breakfasts in the grand Hall and dined there twice on this occasion. The breakfast is sensational, the ambiance without equal. I do believe the Metropol breakfast rates as one of the best in the world.

This is by far the best breakfast buffet one can have. Perhaps my judgement is somewhat biased by the Russian heritage but there is definitely enough for every taste. I do not know if I can ever eat another breakfast without live harp music😀. The ambiance and service are superb. Definitely APlus.

We stayed at the hotel and loved it. In contrast, the main restaurant was not entirely the best experience. The food was pretty good, however, the service here left much to be desired. After an evening at the Bolshoi, my family and I ducked in for a late dinner. However, when they took too long to seat us, I decided to return to my room. As I was leaving, someone literally came over to be of service but I was not in the mood for a late dinner with indifferent waiters and waitresses and risk even the possible rude ones. I made the right choice. A family member was given the cold shoulder by a snooty waiter and no one came to take their orders so they decided to leave. On top of all that, it was pricey. Bottom line: I would avoid eating here. Much better and even cheaper places to dine in the city. It only gets as high a rating as it does for the food.

There was a flat rate of 4000RR (£40) for this, but it serves up to 4 people. This was a delightful experience. Tea with a samovar, a glass of vodka each, Blinis and a selection of the waiter called 'deliciouses', a mixture of savoury and sweet- some were delicious, others were just a bit strange. Fun!

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Metropol Hotel is situated in the heart of Moscow, in front of Bolshoi Theatre and in immediate proximity to Red square and Kremlin. The Metropol was founded in 1905 as a part of the grandiose project of the famous businessman and patron of art Savva Mamontov. According to the first Mamontov's plan, the hotel had to be the part of cultural centre with the largest theatre, exhibition centres, skating rink, and winter garden. Mamontov recruited talented architects and artists — Valkootte, Kekushev, Vrubel.

Formerly the plot of building was occupied with Chelyshevsky baths, mentioned in Moscow and Moscowers Gilyarovsky's book. The building started in 1898 and finished in 1905. But the original plans of Mamontov won't be realized because he was convicted of financial disturbs and he was arrested. He was acquitted but couldn't participate in the building. New contractors refused the Mamontov's ideas and decided to build five-star hotel. However, run of bad luck didn't stop. In 1901 fire took the new building, destroyed all the interiors. Metropol Hotel was opened just in 1905.

Moscow citizens called this hotel as the tower of Babel, they were amazed with turrets, bas-relieves, glass domes, tracery grates, majolica pictures. Metropol Hotel was equipped with elevators, fridges, ventilation. There were three popular restaurants in the hotel. Brusov, Rakhmaninov, Komissarzhevskaya, Shalyapin visited these restaurants.

During the revolution of 1917 Metropol Hotel became one of the counter-revolutionary post. Later it was nationalized and turned into the Second Council House. The main restaurant of Metropol Hotel turned into conference hall, where Lenin, Trotsky, Sverdlov spoke. Many well-known Bolsheviks — Bukharin, Chicherin, Antonov-Ovseenko lived and worked in Metropol Hotel.

Former status of the hotel was gave back just in thirties. Many well-known persons stayed here, including Bernard Shou, Bertold Brekht, Marlen Ditrikh, etc. USSR citizens couldn't visit neither the hotel nor its bars and restaurants.

In time Metropol Hotel decayed and became out of date. Restoration works started in 1986 by Finnish builders, antiquarian furniture was restored in Hermitage. Austrian experts carried out foundation works. New lobby was built, elevators were changed, hotel computerization was carried out. Renovated hotel was opened on December 5, 1991, and received the status of first five-star hotel in Russia.

Nowadays Metropol Hotel is very popular among the guests of Moscow. Presidents, representatives of royal families, political figures, and famous figures stay here. Metropol's work was rewarded repeatedly.

Hotel Metropol

The Moscow Hotels Russia provides travelers with the most useful and up-to-date information on the best hotels of Moscow. With the help of our website you can easily reserve a room in any hotel of Moscow through our online reservation system. In addition to hotel reservations, we offer a full range of travel services. We serve both corporate and leisure clients and strive to satisfy every customer.

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COMMENTS

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    Gehen Sie in Hamburg an Bord Ihres Kreuzfahrtschiffs, besuchen Sie vorher die faszinierende nordische Metropole. Die Stadt hat nicht nur einen der schönsten Kreuzfahrthäfen, sondern auch eine aufregende Geschichte. 7 Tage Kreuzfahrt Metropolen ab Hamburg mit AIDAnova Routeninformationen Reisetermine Jetzt informieren & Traumreise buchen!

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    From the Archives: Aida at the Met. By Peter Clark. If any single opera is most associated with the Metropolitan Opera, it would be Verdi's Aida. The monumental exotic scenes and passionate human dramas, all set to soaring melodic music, are the epitome of the grand opera an audience expects at the Met. That's probably why Aida was the most ...

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    Disney Theatrical Productions (under the direction of Thomas Schumacher) proudly announces the launch of a new North American tour of Elton John and Tim Rice's Tony®-winning Broadway smash Aida ...

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    Metropolitan Opera - Aida - Metropolitan Opera House, New York, NY - Tickets, information, reviews. Lincoln Center, 70 Lincoln Center Plaza, New York, NY 10023. We're an independent show guide not a venue or show. We sell primary, discount and resale tickets, all 100% guaranteed prices may be above face value.

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    A new North American tour of Elton John and Tim Rice's Tony-winning Broadway smash Aida will premiere at Paper Mill Playhouse, February 4 - March 7, 2021. The new production, updated and re ...

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    Overview. Soprano Anna Netrebko and mezzo-soprano Anita Rachvelishvili reprise their incendiary partnership as Aida and Amneris—a highlight of the 2018-19 season—with tenor Piotr Beczała completing the greatest love triangle in all of opera as Radamès. Yannick Nézet-Séguin takes the podium for his first Opening Night performance as ...

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  20. PDF Metropol

    Metropol — the Moscow Legend The famous painted dome of the Metropol Hall created by Sergey Chekhonin Metropol is a famous historic hotel with unique architecture. Savva Ma - montov initiated the construction project in 1905, bringing together the best architects, artists and sculptors of the late 19 th to early 20 th century.

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  24. Metropol Hotel. Moscow Hotels history

    Metropol Hotel was opened just in 1905. Moscow citizens called this hotel as the tower of Babel, they were amazed with turrets, bas-relieves, glass domes, tracery grates, majolica pictures. Metropol Hotel was equipped with elevators, fridges, ventilation. There were three popular restaurants in the hotel. Brusov, Rakhmaninov, Komissarzhevskaya ...