On celebrating 105 years since the institution's first performance, the Romanian National Opera in Cluj-Napoca staged, on May 24th and 25th, 2025, the premiere of a new production of Giuseppe Verdi's opera Aida.

The first Romanian opera house was founded in Cluj-Napoca in 1919, and its opening performance was held on May 25th, 1920. The opera Aida by Giuseppe Verdi was presented, with the institution's first director, tenor Constantin Pavel, listed on the program both as the production director and as the performer of the role of Radames. A new production of Aida was originally planned for the institution's centennial year, but due to the pandemic, it was postponed and rescheduled for 2025. Thus, the first two performances - the premiere and the anniversary show - were held on May 24th and 25th. At the invitation of the institution's manager, I attended both evenings.

The direction, lighting design, and video conceptare signed by Rareș Trifan, an artist trained in musical theater both in Romania and in the United States. It is also worth mentioning that the Cluj institution can take pride in having two employed directors (Rareș Trifan and Mihaela Sandu), both artists of undeniable value. Those familiar with Rareș Trifan's productions know he is the author of several large-scale shows (such as La forza del destino, Turandot, Macbeth, and La fanciulla del West), all based on extensive research and a deep understanding of the score. His directing doesn't aim to shock or push the singers' limits butrather surprises pleasantly through its ideas and emphasizes harmony between music and text, as well as between musical interpretation and stage movement, with a natural connection between characters. Trifan is always a modern creator, in step with the latest stage technology developments, and his shows are particularly complex and technically demanding. From the program booklet, we learn some details about his vision: "Aida is an illusion built in a world where the sky and earth endlessly mirror each other. For the ancient Egyptians, the Nile was reflected in the sky by the Milky Way; the soul did not travel only by water, but also among the stars, carried in the solar barque of eternity. The pyramids, anchored in the sand, replicated Orion's belt - a sign of the unbreakable link between life and cosmos. An example of European Orientalism, the libretto merely states that the action takes place 'in ancient Egypt, during the time of the Pharaohs.' Although seemingly vague, this detail clearly points to the fact that the drama should be understood as myth, not as history or anthropology."The set design by Adrian Damian and costumes by Luiza Enescu follow this direction, proposing an aesthetic that doesn't reconstruct but evokes.

Thus, the sets are signed by Adrian Damian, a scenographer of great value who successfully uses multimedia technologies. The creative team also included Magdy Hawash (co-author of the video content), Luiza Enescu (costume designer), and Dan Haja (choreographer). From the opera's prelude, we're transported into the magical world of ancient Egypt, with dancers stretched across the floor (a large, sloped platform used in several scenes to better visualize the action), performing movements that are reflected by a huge, mirrored surface, creating the impression of ever-shifting frescoes.Symbols of ancient Egypt are constantly present - from walls covered in hieroglyphs to oversized images or statues of deities, or the chromatics and styles of the inspired costumes. I noted representations of the god Anubis (the man with the jackal's head, guardian of tombs) and the golden crocodile. The latter, life-sized and remote-controlled, first appears in Act II as a sort of pet (on a leash) during the Amneris-Aida duet, when the jealous princess threatens the slave; it reappears in the final act, circling the princess. The program notes further explain the director's vision: "The sacred golden crocodile becomes the emblem of the fundamental duality that runs through the entire Egyptian worldview: protection and destruction, life and death, power and ruin. It follows Amneris's fate as a divine force, deceptively protective, but ultimately devouring. Just as her love for Radames consumes her, the crocodile symbolizes an energy that both sustains and destroys - a radiant, unsettling, and fatal presence." The mirror effect delivers impressive results and is used in various scenes to reflect the Nile, the desert, the gardens, or the bodies of the two lovers who appear to float in cosmic space (final scene). Props are multifunctional - for example, torches become oars in a creative scene with soldiers setting off for war. A scribe records the story, appearing on stage at both the beginning and end of the opera. What is missing? The scene of the Triumphal was only partially resolved from a directing perspective due to technical complications that couldn't be addressed in time; to avoid incidents, the intended stage movement was not carried out. Let's not forget that the first Romanian opera house is also the last to be renovated, so the current setup includes modern lighting, sound, and video equipment alongside outdated infrastructure lacking mechanization. Hopefully, future performances will complete this picture. Dan Haja's choreography is perfectly aligned with the director's concept, beginning with the Prelude, continuing with the butterfly-dancer accompanying the High Priestess's song in Act I Scene 2, and culminating in the major choreographic moment of the Triumphal Scene (very well executed by the Opera's dancers). A final note on the visuals: the lighting design is mesmerizing, with gorgeous colors and perfect alignment with the characters' actions and emotions.

Two vocal cast members were assembled for the evenings of May 24th and 25th. On premiere night, soprano Paula Iancic (soloist with the Timișoara Opera) delivered a remarkable debut in the role of Aida, dominating the stage throughout the entire performance. Petite, with a seemingly delicate frame, Paula Iancic possesses a particularly resonant voice across all registers, even, with excellent technique allowing her to shape long phrases that give fluidity to the musical discourse. At 31, the young artist already shows the vocal maturity required for roles of this magnitude. I'd also note that she was truly moving in the final duet with Amonasro.

Her reliable partners were Daniel Magdal (Radames) - the seasoned tenor from the Bucharest Opera - and mezzo-soprano Liza Kadelnik, who interpreted Amneris with sensitivity (not a debut role for her, but a first-time performance on the Cluj stage, where she is employed). Baritone Florin Estefan crafted the role of Amonasro carefully, with expressive nuances fitting the dramatic line. Also leaving a good impression were Corneliu Huțanu (Ramfis) and Petru Burcă (The King), two well-known basses from the institution. Present on both nights, tenor Florin Pop (The Messenger) and soprano Roxana Șelariu (The High Priestess) showed that they give due importance even to secondary roles.

On the anniversary night (May 25), I saw an international cast, the performance being preceded by speeches from the institution's manager - Florin Estefan - and Cluj County's Prefect - Maria Forna. The Opera was awarded an honorary diploma for its 105 years of existence.With a rich palette of vocal colors and convincing stage presence, the German American soprano Miriam Clark (Aida) was a formidable partner to the Timișoara-based mezzo-soprano Judit Kutasi (Amneris). With a career that's taken her as far as the MET, Kutasi portrays the character with great credibility, mastering the role superbly - and the role seems to suit her completely. She delivered a performance of great vocal and acting mastery, moving naturally between different states and emotions - arrogance, jealousy, love, pain - culminating in a gripping rendition of the Judgment Scene. A regular in heroic roles, Italian tenor Samuele Simoncini (Radames) added passionate energy to the love triangle. One of today's most celebrated basses, Italian Roberto Scandiuzzi performed Ramfis with great authority, delighting the audience with his vocal timbre. Well-known to the Cluj audience, bass Simonfi Sandor took on the role of the King. Unfortunately, a much-anticipated guest, baritone Sebastian Cătană, could not perform due to an injury that will keep him offstage for a while. In his place, Florin Estefan once again performed Amonasro.

The chorus (prepared by Corneliu Felecan) sounded bold and powerful when required, despite not being a large ensemble; the panels (three side panels and one above) that formed part of the set in some scenes also served as an acoustic shell, improving sound projection into the hall.

The orchestra was an excellent musical partner to the entire cast, responding flexibly to the conductor's gestures. In the Triumphal Scene, a group of six trumpeters stood out on stage (the six "Egyptian" trumpets, as required by Verdi's score).

The musical directionbelonged to David Crescenzi, the artistic director of the institution, an accomplished musician.