“And when I came home, I told my mother it was terrible and I could do it better and I was going to direct opera.”Īccording to the Met’s figures, she supplemented the six principal singers in the Triumphal Scene with 150 actors, 94 choristers, 62 spears, 41 swords, 31 staffs, 30 bows with quivers, 26 rope manacles, 16 dancers, 15 shields, 14 standards, eight axes, six herald trumpeters, four whips, four clubs and four feather fans.įrisell’s version premiered on Dec.
“I found out that there was an opera on an Egyptian subject, and I finally managed to see a production in London at the age of 16,” Frisell said. A new version by Tony Award winner Michael Mayer is to open in 2024-25.įrisell had been fascinated by the story of the Ethiopian princess and Egyptian military captain Radamès since childhood. Her version, featuring a Triumphal Scene with 272 people and four horses, will be seen for the 262nd and final time on Thursday night. So began the path to her lavish staging of Verdi’s “Aida,” the second-most performed production in the Metropolitan Opera’s 140-year history. “My mother wouldn’t take me to it because she said it wasn’t a subject suitable for young people,” Frisell, now 85, said by phone from her home in Portugal.
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NEW YORK (AP) - Sonja Frisell was a 9-year-old growing up in England when she saw still photos of “Caesar and Cleopatra,” a 1945 movie starring Vivien Leigh and Claude Rains.
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