Giuseppe Verdi's Aida (1871) contains one of the most demanding but also most rewarding roles for mezzo-soprano in the core opera repertoire: that of the king's daughter Amneris, who, despite her raging jealousy of the title character, becomes a repentant penitent at the deadly end of her plot and asks for redemption for those who died for love.

Dalia Schaechter plays Amneris, who, after the end of the Aida plot, looks back on her life in a psychiatric institution and revisits the four acts of the opera.

The reduction of the grand tableau to a finely drawn psychodrama opens up space for a new form of musical theater in which not only is the famous score mastered by a single singer, but the status conflict between soprano and mezzo-soprano on the opera stage also becomes the subject of negotiation.

Verdi's music is performed in an unorthodox interpretation, in which the different stylistic biotopes of the musicians involved—grand opera, jazz, and new music—come together to create a unique new sound.