Isma'il Pasha,Khedive of Egypt, commissioned Verdi to write an opera to celebrate the opening of theSuez Canal, but Verdi declined.[3] However,Auguste Mariette, a FrenchEgyptologist, proposed to Khedive Pasha a plot for a celebratory opera set in ancient Egypt.[3][4] Khedive Pasha referred Mariette to theatre managerCamille du Locle, who sent Mariette's story idea to Verdi. Eventually, Verdi agreed to compose an opera based on that story, for 150,000 francs.[3]
Because the scenery and costumes were stuck in the French capital during theSiege of Paris (1870–71) of the ongoingFranco-Prussian War, the premiere was delayed and Verdi'sRigoletto was performed instead. The first opera performed at theKhedivial Opera House,Aida eventually premiered in Cairo on 24 December 1871.[4][5]
Verdi originally chose to write a brief orchestral prelude instead of a full overture for the opera. He then composed an overture of the "potpourri" variety to replace the original prelude. However, in the end he decided not to have the overture performed because of its—his own words—"pretentious silliness".[6] This overture, never used today, was given a rare broadcast performance byArturo Toscanini and theNBC Symphony Orchestra on 30 March 1940, but was never commercially issued.[7]
Aida met with great acclaim when it finally opened in Cairo on 24 December 1871. The costumes and accessories for the première were designed byAuguste Mariette, who also oversaw the design and construction of the sets, which were made in Paris by theOpéra's scene painters Auguste-Alfred Rubé andPhilippe Chaperon (acts 1 and 4) andÉdouard Desplechin andJean-Baptiste Lavastre (acts 2 and 3), and shipped to Cairo.[8] Although Verdi did not attend the premiere in Cairo, he was most dissatisfied with the fact that the audience consisted of invited dignitaries, politicians and critics, but no members of the general public.[9] He therefore considered the Italian (and European) première, held atLa Scala,Milan on 8 February 1872, and a performance in which he was heavily involved at every stage, to be itsreal première.
Verdi had also written the role of Aida for the voice ofTeresa Stolz, who sang it for the first time at the Milan première. Verdi had asked her fiancé,Angelo Mariani, to conduct the Cairo première, but he declined, soGiovanni Bottesini filled the gap. The MilanAmneris,Maria Waldmann, was his favourite in the role and she repeated it a number of times at his request.[10]
Rio de Janeiro: 30 June 1886,Theatro D. Pedro II. During rehearsals, the performers of the Italian touring opera company had disagreements with the local conductorLeopoldo Miguez, described as "inept". After the failure of two replacement conductors,Arturo Toscanini, at the time a 19-year-old cellist who was assistant chorus master, was persuaded to conduct the performance. He conducted the opera from memory with great success.[21][22]
A complete concert version of the opera was given in New York City in 1949. Conducted by Toscanini withHerva Nelli as Aida andRichard Tucker as Radamès, it was televised on theNBC television network. Due to the length of the opera, it was divided into two telecasts, preserved onkinescopes, and later released on video byRCA and Testament. The audio portion of the broadcast, including some remakes in June 1954, was released on LP and CD by RCA Victor. Other notable performances from this period include a 1955 performance conducted by Tullio Serafin withMaria Callas as Aida and Richard Tucker as Radamès and a 1959 performance conducted byHerbert von Karajan withRenata Tebaldi as Aida andCarlo Bergonzi as Radamès.[24]
La Scala mounted a lavish new production ofAida designed byFranco Zeffirelli for the opening night of its 2006/2007 season. The production starredVioleta Urmana in the title role andRoberto Alagna as Radamès. Alagna subsequently made the headlines when he was booed for his rendition of "Celeste Aida" during the second performance, walked off the stage, and was dismissed from the remainder of the run. The production continued to cause controversy in 2014 when Zeffirelli protested at La Scala's rental of the production to theAstana Opera House in Kazakhstan without his permission. According to Zeffirelli, the move had doomed his production to an "infamous and brutal" fate.[25][26][27]Aida continues to be a staple of the standard operatic repertoire.[28] It is frequently performed in theVerona Arena, and is a staple of its renownedopera festival.[29]
Poster for a 1908 production in Cleveland, showing the triumphal scene in act 2, scene 2
The libretto does not specify a precise time period, so it is difficult to place the opera more specifically than theOld Kingdom.[34] For the first production, Mariette went to great efforts to make the sets and costumes authentic.[35] Considering the consistent artistic styles throughout the 3000-year history of ancient Egypt, a given production does not particularly need to choose a specific time period within the larger frame of ancient Egyptian history.[34]
Backstory: The Egyptians have captured and enslaved Aida, anEthiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to theKing of Egypt. To complicate the story further, the King's daughter Amneris is in love with Radamès, although he does not return her feelings.
Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Ethiopians seems inevitable, and Radamès hopes that he will be chosen as the Egyptian commander by the Gods (Ramfis, Radamès: "Sì, corre voce l'Etiope ardisca" / Yes, it is rumoured that Ethiopia dares once again to threaten our power).
Radamès dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave, with whom he is secretly in love (Radamès: "Se quel guerrier io fossi! ... Celeste Aida" / Heavenly Aida). Aida, who is also secretly in love with Radamès, is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude.
Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else (Radamès, Amneris: "Quale insolita gioia nel tuo sguardo" / What an unusual joy is in your gaze!).
Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but is able to hide her jealousy and approach Aida (Amneris, Aida, Radamès: "Vieni, o diletta, appressati" / Come, O delight, come closer).
Set design byPhilippe Chaperon for act 1, scene 2 at the Cairo première
The King enters, along with the High Priest, Ramfis, and the whole palace court. A messenger announces that the Ethiopians, led by King Amonasro, are marching towardsThebes. The King declares war and proclaims that Radamès is the man chosen by the goddessIsis to be the leader of the army (The King, Messenger, Radamès, Aida, Amneris, Ramfis, chorus: "Alta cagion v'aduna .. Guerra, guerra, guerra!" / Oh fate o'er Egypt looming .. War, war, war!). Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms (The King, Radamès, Aida, Amneris, chorus: "Su! del Nilo al sacro lido" .. (reprise) "Guerra, guerra, guerra!" / On! Of Nilus' sacred river, guard the shores .. (reprise) War, war, war!).
Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès (Aida: "Ritorna vincitor!" / Return a conqueror!).
Scene 2: Inside the Temple of Ptah
Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: "PossentePtah ... Tu che dal nulla" / O mightyPtah). This is followed by the installation of Radamès to the office of commander-in-chief (High Priestess, chorus, Ramfis, Radamès: "Immenso Ptah.. Mortal, diletto ai Numi" / O mighty one, guard and protect!). All present in the temple pray fervently for the victory of Egypt and protection for their warriors ("Nume, custode e vindice"/ Hear us, O guardian deity).
Dances and music to celebrate Radamès' victory take place (Chorus, Amneris: "Chi mai fra gli inni e i plausi" / Our songs his glory praising). However, Amneris is still in doubt about Radamès' love and wonders whether Aida is in love with him. She tries to forget her doubt, entertaining her worried heart with the dance ofMoorish slaves (Chorus, Amneris: "Vieni: sul crin ti piovano" / Come bind your flowing tresses).
When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by the news, Aida confesses that her heart belongs to Radamès eternally (Amneris, Aida: "Fu la sorte dell'armi a' tuoi funesta" / The battle's outcome was cruel for your people).
This confession fires Amneris with rage, and she plans on taking revenge on Aida. Ignoring Aida's pleadings (Amneris, Aida, chorus: "Su! del Nilo al sacro lido" / Up! at the sacred shores of the Nile), Amneris leaves her alone in the chamber.
Scene 2: The grand gate of the city of Thebes
Radamès returns victorious and the troopsmarch into the city (Chorus, Ramfis: "Gloria all'Egitto, ad Iside" / Glory to Egypt, [and] to Isis!).
The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Ethiopian captives are led onstage in chains, Amonasro among them. Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from the Egyptians. Amonasro deceptively proclaims to the Egyptians that the Ethiopian king (referring to himself) has been slain in battle. Aida, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but Ramfis and the Egyptian priests call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: "Che veggo! .. Egli? .. Mio padre! .. Anch'io pugnai .. Struggi, o Re, queste ciurme feroci" / What do I see?.. Is it he? My father? .. Destroy, O King, these ferocious creatures).
Claiming the reward promised by the King of Egypt, Radamès pleads with him to spare the lives of the prisoners and to set them free. The King grants Radamès' wish, and declares that he (Radamès) will be his (the King's) successor and will marry the King's daughter (Amneris). (Aida, Amneris, Radamès, Ramfis, The King, Amonasro, chorus: "O Re: pei sacri Numi! .. Gloria all'Egitto" / O King, by the sacred gods ... Glory to Egypt!). At Ramfis' suggestion to the King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.
Prayers are said (Chorus, High Priestess, Ramfis, Amneris: "O tu che sei d'Osiride" / O thou who to Osiris art) on the eve of Amneris and Radamès' wedding in the Temple of Isis. Outside, Aida waits to meet with Radamès as they had planned (Aida: "Qui Radamès verra .. O patria mia" / Oh, my dear country!).
Amonasro appears and orders Aida to find out the location of the Egyptian army from Radamès. Aida, torn between her love for Radamès and her loyalty to her native land and to her father, reluctantly agrees. (Aida, Amonasro: "Ciel, mio padre! .. Rivedrai le foreste imbalsamate" / Once again shalt thou gaze). When Radamès arrives, Amonasro hides behind a rock and listens to their conversation.
Radamès affirms that he will marry Aida ("Pur ti riveggo, mia dolce Aida .. Nel fiero anelito"; "Fuggiam gli ardori inospiti .. Là, tra foreste vergini" / I see you again, my sweet Aida!), and Aida convinces him to flee to the desert with her.
To facilitate their escape, Radamès suggests using a secure route free from the risk of discovery and discloses the location his army plans to attack. Upon hearing this, Amonasro emerges from hiding and reveals his true identity. Radamès, horrified, realises he has inadvertently divulged a critical military secret to the enemy. Meanwhile, Amneris and Ramfis leave the temple, spot Radamès in conference with the enemy, and summon the imperial guards. Amonasro, armed with a dagger, intends to kill Amneris and Ramfis before they can alert the guards, but Radamès disarms him. He swiftly instructs Amonasro to flee with Aida and surrenders himself to the guards, who arrest him as a traitor.
Philippe Chaperon's act 4, scene 2 set design for the 1880Palais Garnier performance in Paris
Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès' prison cell
Amneris wishes to save Radamès ("L'aborrita rivale a me sfuggia" / My hated rival has escaped me). She calls for the guard to bring him to her.
She asks Radamès to deny the accusations, but Radamès, who does not wish to live without Aida, refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: "Già i Sacerdoti adunansi" / Already the priests are assembling).
Offstage, Ramfis recites the charges against Radamès and calls on him to defend himself, but he stands mute, and is condemned to death as a traitor. Amneris, who remains onstage, protests that Radamès is innocent, and pleads with the priests to show mercy. The priests sentence him to be buried alive; Amneris weeps and curses the priests as he is taken away (Judgment scene, Amneris, Ramfis, and chorus: "Ahimè! .. morir mi sento .. Radamès, è deciso il tuo fato" / Alas .. I feel death .. Radamès, your fate is decided).
Opening and close of act 4, scene 2, "La fatal pietra" and "Morir! Sì pura e bella", with some cuts in the middle, sung byNicola Zerola in 1909
Scene 2: The lower portion of the stage shows the vault in the Temple of Ptah; the upper portion represents the temple itself
Radamès has been taken into the lower floor of the temple and sealed up in a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radamès (Radamès: "La fatal pietra sovra me si chiuse" / The fatal stone now closes over me). They accept their terrible fate (Radamès: "Morir! Sì pura e bella" / To die! So pure and lovely!) and bid farewell to Earth and its sorrows (duet "Invan! Tutto è finito ... O terra addio").[36] Above the vault in the temple of Ptah, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radamès' arms as the priests, offstage, pray to the god Ptah. (Chorus, Aida, Radamès, Amneris: "Immenso Ftha" / Almighty Ptah).
The opera has been portrayed in the 2001 Italian animated filmAida of the Trees (Aida degli alberi). The characters are seen as anthropomorphic creatures between the fictional kingdoms of Alborea and Petra as the star-crossed lovers must find a way to unify their worlds while facing off against the evil high priest Ramfis.
^Auguste Mariette to Paul Draneht (General Manager of the Cairo Opera House), Paris, 28 September 1871. (Translated and annotated),Busch 1978, pp. 224–225.
^The Cairo Opera House could only hold 850 spectators (Pitt & Hassan 1992, p. 682).
^The original draft included a speech by Aida (excised from the final version) that explained her presence beneath the Temple: "My heart knew your sentence. For three days I have waited here." The line most familiar to audiences translates as: "My heart forewarned me of your condemnation. In this tomb that was opened for you I entered secretly. Here, away from human sight, in your arms I wish to die."
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