Whether pointing out moral hypocrisy in La traviata, or questioning patriotism and the relationship between church and state in Aida, Verdi was committed to telling stories about the time in which he lived. Like these modern-day collaborators, Verdi was also a groundbreaking contemporary artist of his time. The creative team includes visionary contemporary-dance leader Jessica Lang, whose work Seattle audiences may recognize from Pacific Northwest Ballet or Meany Center for the Performing Arts. RETNA’s eye-catching visuals are not the only instance of artistic collaboration in Aida. “In ancient times, scribes were always part of working with the government with music, with the hieroglyphics on the wall, promoting who was in power, what the culture was like.” The word “graffiti” comes from the Italian word graffiato, which means “scratched.” And while some may dismiss it today as a practice that’s against the establishment, the word “graffiti” in art history books often refers to pictures that were “scratched” onto a surface, be it a rock, a church-or perhaps an ancient Egyptian temple or wall. And in fact, he describes the role of a graffiti artist as similar to that of a scribe. Inspired in part by ancient Egyptian hieroglyphics, RETNA seems like a natural fit to design for an opera originally set in Egypt. RETNA created the bold visual backdrops for Aida with his same distinct style, a type of graphic lettering and illuminated script that has earned him commissions from Usher and Justin Bieber. Acclaimed stage director Francesca Zambello was looking to create something unique when she asked the graffiti artist RETNA (born Marquis Duriel Lewis) to collaborate with her on a new production of Verdi’s masterpiece. This May, two different artistic genres-street art and opera-are coming together for Seattle Opera’s Aida.
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