AIDA

⭐⭐⭐⭐⭐

Artscape Opera House

23 May - 31 May 2025

Cape Town Opera’s latest production of Aida at the Artscape Opera House is a bold and visually arresting reimagining of Verdi’s classic opera. Set within a sleek Afrofuturist frame, this staging leans into digital landscapes, stylised movement, and abstract design choices to push the well-worn story into new and surprising territory.

Musically, the production is in fine form. The orchestra under the baton of Kamal Khan delivered a rich and nuanced performance, providing a firm foundation for the principal cast. Nobulumko Mngxekeza’s Aida is emotionally resonant and vocally secure, her soaring soprano carrying both heartbreak and dignity. Lukhanyo Moyake as Radamès and Nonhlanhla Yende as Amneris deliver equally powerful performances, navigating the demanding score with clarity and conviction. Conroy Scott brings authority and presence to the role of Amonasro, and the chorus—numbering over 50 voices—is in excellent shape, adding immense depth to the soundscape.

Visually, the production is refreshingly futuristic, with minimalist sets enhanced by video projections, stylised lighting, and bold costume design that blends tradition with science-fiction aesthetics. The lighting and sound design work in near-perfect harmony to support the storytelling without overwhelming it, creating an immersive atmosphere that feels both ancient and otherworldly.

The only technical misstep in an otherwise polished production came during the scene changes. The presence of stagehands and crew, sometimes awkwardly visible and lit, briefly pulled the audience out of the world the production worked so hard to build. It's a small, but noticeable, hiccup in a show that otherwise runs with remarkable smoothness.

The choreography by Gregory Maqoma adds another dimension—sometimes abstract, sometimes visceral—complementing the music rather than distracting from it. Surtitles in English and isiXhosa ensure accessibility without diluting the opera’s complexity.

Still, for all its visual and musical excellence, the show left me somewhat disoriented—but perhaps not in a bad way. The confusion seemed rooted less in the production than in the opera itself: a story full of contradictions, opaque motives, and fatalistic choices. The futuristic styling doesn’t attempt to resolve this ambiguity but embraces it, creating a work that is both emotionally and intellectually challenging.

This Aida is not traditional, and not always easy to parse—but it is undeniably compelling. For those open to an operatic experience that asks more questions than it answers, Cape Town Opera’s production is a triumph of imagination and execution.