But first let's consider the staging. Set Designer Douglas W. Schmidt did a competent job only, Acts 1 consisted of a set of walls and a door (initially closed) which opens when the King and his entourage arrives and reveals a moving block where the throne is. I thought it did not convey the size of an Egyptian palace. The same set was used for Act 1, Scene 2 but the moving block moved further back.  Act 2, Scene 1 was good enough. There was a sofa (where Amneris sat listening and watching the slaves dance) and a curtain where Amneris' slaves entertained themselves. Act 2, Scene 2 the set moves to the side and reveals the Egyptian court again. This was very weak, it wasn't spectacular enough, no horses, no elephants, only a handful of people walking back and forth. Act 3 was pretty, standard, Ramfis' temple to the right and the banks of the Nile on the back. Act 4 was the standard, a tomb and a statue on top of it (from which Amneris would sing). In sum, some Acts were good, others poor. Stage director did a good job, but Crider did not show much acting and neither did Margison.

Michele Crider has the right voice for Aida. Hers is a substantial lyric soprano almost a spinto. What she lacks for a true spinto is more volume and more dynamic. Her low notes are there but are not very strong. She sang the role well, her "Ritorna vincitor" was good and her best moment was in the duet with Amneris where at the end she sang with a true legato and piano. In Act2, Scene 2 (Triumphal March) she showed no sign of strains and had no trouble singing above everybody. Her problem is surprisingly Acts 3 and 4 which require more lyricism and she did not show much. Her "O Patria Mia" started well but ended badly, right in the final bars you can tell a good Aida when the singer can sing pianissimo, Crider did not and sang forte and ended the aria in a forte too which is very bad taste. Her "O Terra Addio" in Act 4 was also belted out.

Richard Margison is a good Radames. His voice is a true tenor but rather bright for the role. It lacks that heroic tone. His "Celeste Aida" was belted out, mostly in forte. He took the alternate ending, fortissimo high B-flat, then dropping down quietly to the B-flat an octave below. He did show more lyricism than Crider, and started the "O Terra Addio" in Act IV, piano and did show to understand the role.

Larissa Diadkova was a superb Amneris. I had gone to this performance specially to listen to her. Hers is a true contralto, the voice even from bottom to the top. I sometimes felt as if transported in time I was listening to a Stiganini or Simionato (singers I have not heard live, they retired before I was born !). What a marvelous instrument. Her low notes are a true marvel and only the top she shows some sign of strain (after all she is a contralto and not a mezzo). Her Act IV was great, I can still recall her vibrant tone, those low notes ringing loud and clear and her curse at the high priests. If you live in the Bay Area do go to listen to her, for me she is one of the great voices of our era !

Paata Burchuladze was a superb Ramfis. This is one of his signature roles and it shows. His voice is enormous, they even placed him always in the back of the stage ! When he entered in Act 1 I was astonished to hear such a huge voice. And not only that, his voice is really capable. Just listen to Act 3 where he tells Amneris to pray with him ("...ogni mistero degli umani ...")  and he sings a true pianissimo in the word "ogni".

Stephan Pyantnycho did a fine job as Amonasro. His voice projects well and he is very good with words, specially in his confrontation with Aida in Act 3.

Raymond Aceto was a good King.