Opera, it's fair to say, isn't for everyone. As a cultural outlet, it's viewed by some as esoteric and elitist and by others as boring and impenetrable. One way to counteract such prejudices and fears is to make opera more accessible and give those in the stalls more bang for their buck. That's exactly what Irish audiences will get this December when a truly spectacular production of Giuseppe Verdi's Aida is staged in The O2 for one night only.

Not to be confused with the loose Broadway adaptation of the story penned by Elton John and Tim Rice, this production of Aida nevertheless adopts more of the hallmarks of a Broadway musical than a traditional opera in a bid to broaden its appeal to newcomers and doubters.

For instance, the sets for the show will transform the O2, rendering it unrecognisable. A 12-metre high pyramid will dominate the stage, along with the throne of Pharaoh, and statues of Egyptian figures as well as eight palm trees. The production boasts a cast of over 200, including 20 ballet dancers, a full orchestra, and a choir of 75 singers, not to mention a menagerie of live snakes, camels and horses.

"It's a lot of work for one night only," laughs producer Lora Braschi. "It's a huge operation, and it's very expensive. The sets for the first act alone cost €200,000, but it's all there to see on stage.

"This isn't just an opera; it's an opera show, and I know a lot of people will come for that aspect. It's a great way of getting more people interested in the opera. We're sold out in Italy already, and I expect the Dublin show to sell very quickly."

The opera is set in ancient Egypt and tells the tale of Aida, an Ethiopian princess who is captured and taken into slavery. While there she meets with Radames, the Captain of the Egyptian Guards, who falls in love with her. Radames becomes torn between his love for Aida and his loyalty to his leader, the Pharaoh, whose own daughter, Amneris, is in love with him. The story reaches a climax when Radames is asked to lead the Egyptian army into battle against the Ethiopian army headed by his beloved Aida's own father, the King of Ethiopia.

Verdi was first commissioned to write Aida by Ismail Pasha, the King of Egypt, for the opening of the Italian Theatre in Cairo on Christmas Eve, 1871 (and not, contrary to popular belief, to mark the opening of the Suez Canal in 1869). However, the composer was unhappy about the fact that the audience at this premiere consisted solely of select dignitaries, politicians and critics, but no members of the public. For that reason, Verdi considered the first Italian (and European) production at La Scala in Milan in February 1872 to be the real premiere of Aida.

In keeping with Verdi's populist spirit, this touring production of Aida will recruit 100 people from each city it visits to fill walk-on parts. "In Act II, there's a large triumph march," says Lora. "The 100 Irish people will be playing slaves. They push the general's chariot, and carry the King on stage. It's about five minutes' work."

Tenor Ernesto Grisales Cardona has played the role of Radames over 300 times, and will recreate it again for the Dublin show. "I studied for eight years to develop my singing technique for roles like this, so my voice can adapt easily," he explains.

Does performing in such a spectacular production not act as a distraction to an opera singer? "No, it's not a problem," he answers. "I've played the role so many times that I'm comfortable in it. I don't really notice the sets and everything else any more. It's nice to get a strong response from the audience though. I enjoy it more if I sense that they are enjoying it too."

Ines Olabarria, who will be playing Aida, agrees this show is no more or less challenging to perform. "Every role is equally hard to sing," she explains. "The training for Verdi operas is a bit harder, but the role of Aida is one that benefits from age. You are more emotionally developed and confident, but also the voice has had a chance to grow too."

This production and tour of Aida is particularly intense, starting on November 7 in Strasbourg, and running well into next April, taking in Geneva, Belfast, northern Italy and Spain and several other European dates. So what's Ines's secret for protecting her most precious asset -- her voice -- for the duration of the tour?

"Sleeping," she replies, without hesitation. "It's the same for all singers. I call it beauty sleep for the voice. We're like athletes in some respects. If I sleep, I'll be okay. Everything else, like eating and avoiding cold, comes secondary. I look after myself, and don't have to feel guilty about it. Yesterday, I caught an early flight to Dublin but rewarded myself with an evening in the bubble bath. I see it as good training for playing a princess!"

Aida is staged in The O2, Dublin, on December 4. Tickets on sale for €70, €85 and €95. Go to ticketmaster.ie or can call 0818 719 300

Irish Independent