Aida has rightfully earned its place amongst opera’s greatest hits. It has remained popular since its premiere in 1871 and is considered one of Verdi’s most celebrated works, alongside the likes of La Traviata. So it may be surprising to learn that Verdi was initially reluctant to take on this opera, nor did the path to its world premiere run smoothly.

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Last week, I and a second intrepid photographer visited the props and costume rooms where parts of Aida are being prepared for the stage. Today we'll show you a few items from the props rooms, and the next post will focus on the costume rooms. These are the first images we're making available from the production, and while we don't want to give too much away, we hope you'll find them intriguing. If you've seen director Tim Albery's other acclaimed productions for the COC (which include War and Peace and Götterdämmerung), you know that his approach is likely to be anything but ordinary.

Albery and his designers have chosen a contemporary setting for the opera, and all the scenes take place in a luxurious and ostentatious palace in an unspecified war-torn country. The sets and costumes are meant to convey a society governed by the "nouveau riche", with lots of money and power but somewhat vulgar and outdated tastes. The lavish opulence of the surroundings will stand in contrast to the fundamental intimacy of the opera.

Our attention was first piqued by this shelf of metal helmets.

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