The booing started in Act I and reached tumultuous levels by the time director Olivier Py and Pierre-Andre Weitz, the set and costume designer, stepped in front of the curtain at the Bastille.
Writing in the house program, Py claims that “Aida” is Verdi’s most political opera, “a great reflection on political violence.”
During the overture, a young man waving the Italian flag is brutally subdued by military police.
In his 1953 movie “Senso,” Luchino Visconti proved the period can be a perfect background for the drama of a woman torn between love and her patriotic duties — which is exactly Aida’s dilemma.
Unfortunately, Py over-eggs the pudding with tanks, Gestapo officers bearing machine guns, and poor gypsies.