The Iași Romanian National Opera has invited the public for a performance of Aida by Verdi, a production achieved, last season, by the director Andras Kurthy from Hungary, and benefiting now by a balanced distribution with rich, qualitative voices, well conducted and a very good expressiveness. Interesting were the guests' evolutions and also the debuts, succeeding a unitary collaboration with experienced theatre performers, the characters becoming credible and convincing. So, the soprano Simona Titieanu performed her role with confidence and dedication, despite of some slight flashiness in acute, while in Amneris appeared for the first time Marinela Nicola, a "high" mezzo-soprano, with a penetrating voice, with equality in registers, solving the little clumsiness and the high-pitched notes which were sometimes uncomfortable, overcoming with great courage the fatigue which was felt in the challenging "scene of Justice", being also a pleasant stage presence, facts which represent certain promises for the performer who is at the beginning of a promising career. Another debut was marked by the bass from Cluj, Andrei Yvan, playing Ramfis, imposing, decisive, with a special and acute timbre. The soprano Cristina Grigoraș also approached her episodic intervention of the High Priestess, distinguishing the song's purity, adapted to the role's demands.

Guest was also the tenor Hector Lopez, in this season "taken" by the Cluj-Napoca Romanian Opera, invited more often in our country but also across the borders. His beautiful voice and the phrasing in the score's spirit conquered the public, despite some unfulfilments in acute owed to a rebel virosis, demonstrating that his musical experience and intelligence can give him solutions through which he can avoid other problems, having force, sensitivity and the necessary brightness. Also, the baritone Ciprian Marele outlined an effective Amonasro, not only because he appeared bare chested and with waving hair, but also because his lyrical voice had, through heroic accents, the scale requested by the character, like the bass Daniel Mateianu in the King of Egypt, the tenor Andrei Apreotesei being a convincing Messenger.

A young distribution, a homogeneous choir (prepared by Manuel Giugula), as well as the children's choir (conducted by Raluca Zaharia), a corps de ballet in shipshape and a graceful orchestra, with a wide range of colours, with Egyptian trumpets of great impact, everything conducted by Jozsef Horvath, also a guest of the Cluj-Napoca Romanian Opera, conducting with rigor and sobriety, coordinating the relationship pit-stage with confident hand, even in moments when there could have been risks of some imbalances, adapting on the way to some possible tempo deviations at some soloists, resulting an unitary, attractive and long applauded show by an overcrowded hall.

It was a successful evening, but with adventures, because after the first measures a blackout swept part of the city and interrupted the performance. It was resumed after almost an hour, the manager Beatrice Rancea announcing that the local authorities provided electricity for 4 hours by using a generator so the Verdi opera could go on in the best conditions. Even in this situation, the music lovers have waited patiently, cheering when the lights came back on, being happy they can listen (again) one of the most loved lyric creations. The level at which it was performed had rewarded the waiting.