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Aïda, is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario often attributed to French Egyptologist Auguste Mariette, although Verdi biographer Mary Jane Phillips-Matz has argued that the scenario was actually written by Temistocle Solera.[1]
Aida was first performed at the Khedivial Opera House in Cairo on 24 December 1871, conducted by Giovanni Bottesini.
Isma'il Pasha, Khedive of Egypt, commissioned Verdi to write the opera for performance in January 1871, paying him 150,000 francs, but the premiere was delayed because of the Franco-Prussian War. Metastasio's libretto Nitteti (1756) was a major source of the plot.
Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869, nor that of the Khedivial Opera House (which opened with Verdi's Rigoletto) in the same year.
Verdi had been asked to compose an ode for the opening of the Canal, but declined on the grounds that he did not write occasional pieces.
Verdi originally chose not to write an overture for the opera, but merely a brief orchestral prelude.
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 pretentious insipidity.
This overture, not normally used today, was given a rare broadcast performance by Arturo Toscanini and the NBC Symphony Orchestra on 30 March 1940, but was never commercially issued.
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"Aida" met with great acclaim when it finally opened in Cairo on 24 December 1871.
The costumes and accessories for the premiere were designed by Auguste Mariette, and he oversaw the design and construction of the sets, which were created in Paris by the Opéra's scene painters Auguste Rubé and Philippe Chaperon (Acts 1 and 4) and Edouard Despléchin and Jean-Baptiste Lavastre (Acts 2 and 3), and shipped to Cairo.
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.
He therefore considered the Italian premiere, held at La Scala, Milan on 8 February 1872, and in which he was heavily involved at every stage, to be its real premiere.
Verdi had also written the role of Aida for the voice of Teresa Stolz, who sang it for the first time at the Milan premiere.
Verdi had asked her fiancé, Angelo Mariani, to conduct the Cairo premiere, but he declined, so Giovanni Bottesini filled the gap.
The Milan Amneris, Maria Waldmann, was his favourite in the role and she repeated it a number of times at his request.
Aida was received with great enthusiasm at its Milan premiere.
The opera was soon mounted at major opera houses throughout Italy, including the Teatro Regio di Parma (20 April 1872), the Teatro di San Carlo (30 March 1873), La Fenice (11 June 1873), the Teatro Regio di Torino (26 December 1874), the Teatro Comunale di Bologna (30 September 1877, with Giuseppina Pasqua as Amneris and Franco Novara as the King), and the Teatro Costanzi (8 October 1881, with Theresia Singer as Aida and Giulia Novelli as Amneris) among others.[10]
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Details of important national and other premieres of Aida follow:
As of 2007, the Metropolitan Opera alone has given more than 1,100 performances of the opera, making it the second most frequently performed work by the company behind La bohème.
| Role | Voice type | Premiere cast, 24 December 1871[21] Cairo (Conductor: Giovanni Bottesini) | European premiere 8 February 1872[22] La Scala, Milan (Conductor: Franco Faccio) |
|---|---|---|---|
| Aida, an Ethiopian princess | soprano | Antonietta Anastasi-Pozzoni | Teresa Stolz |
| The King of Egypt | bass | Tommaso Costa | Paride Pavoleri |
| Amneris, daughter of the King | mezzo-soprano | Eleonora Grossi | Maria Waldmann |
| Radamès, Captain of the Guard | tenor | Pietro Mongini | Giuseppe Fancelli |
| Amonasro, King of Ethiopia | baritone | Francesco Steller | Francesco Pandolfini |
| Ramfis, high Priest | bass | Paolo Medini | Ormando Maini |
| A messenger | tenor | Luigi Stecchi-Bottardi | Luigi Vistarini |
| Voice of the High Priestess[23] | soprano | Marietta Allievi | |
| Priests, priestesses, ministers, captains, soldiers, officials, Ethiopians, slaves and prisoners, Egyptians, animals and chorus | |||
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The libretto does not specify a precise time period, so it is difficult to place the opera more specifically than the Old Kingdom.
For the first production, Mariette went to great efforts to make the sets and costumes authentic.[25] Given the consistent artistic styles through 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.[24]
Synopsis
Aida, an Ethiopian princess, is captured and brought into slavery in Egypt. A military commander, Radamès, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, Radamès is loved by the Pharaoh's daughter Amneris, although he does not return her feelings.Act 1
Scene 1: A hall in the King's palace; through the rear gate the pyramids and temples of MemphisRamfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Ethiopians seems inevitable, and Radamès expresses the hope that he can be chosen as the Egyptian commander. (Ramfis, Radamès : Si, corre voce I'Etiope ardisca / "Yes, it is rumored that Ethiopia dares once again to threaten our power").
Radamès dreams both of gaining victory on the battle field and of Aida, the 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 / "In your looks I trace a joy unwonted").
Then Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but she is able to hide her jealousy and approaches her (Amneris, Aida, Radamès: Vieni, o diletta, appressati / "Come, O delight, come closer").
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 towards Thebes. The King declares war and also proclaims Radamès to be the man chosen by the goddess Isis as leader of the army (The King, Messenger, Radamès, Aida, Amneris, chorus: Alta cagion v'aduna / "Oh fate o'er Egypt looming"). Upon receiving the 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 / "On! Of Nilus' sacred river, guard the shores").
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Scene 2: Inside the Temple of Vulcan Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: Possente Ftha...Tu che dal nulla / "O mighty Ptah.") followed by the installation of Radamès to the office of commander-in-chief. (High Priestess, chorus, Radamès: Immenso Ftha .. Mortal, diletto ai Numi / "O mighty one, guard and protect!"). All present in the temple pray for the victory of Egypt and protection for their warriors (Nume, custode e vindice/ "Hear us, O guardian deity").
Act 2
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 the young warrior. She tries to forget her doubt, entertaining her worried heart with the dance of Moorish 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 troops march into the city (Chorus, Ramfis: Gloria all'Egitto, ad Iside / "Glory to Egypt, to Isis!"). The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Ethiopian captives are rounded up and Amonasro appears among them. Aida immediately rushes to her father, but their true identities are still unknown to the Egyptians, save for the fact that they are father and daughter. Amonasro declares that the Ethiopian king (he himself) has been slain in battle. Aida, Amonasro and the captured Ethiopians plead with the Egyptian King for mercy, but the Egyptians call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: Che veggo! .. Egli? .. Mio padre! .. Anch'io pugnai / "What do I see?.. Is it he? My father?").
As his reward from the King, Radamès pleads with him to spare the lives of the prisoners and to set them free. Gratefully, the King of Egypt declares Radamès to be his successor and to be his daughter's betrothed (Aida, Amneris, Radamès, The King, Amonasro, chorus: O Re: pei sacri Numi! .. Gloria all'Egitto / "O King, by the sacred gods..."). Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.
Act 3
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Prayers are said (Chorus, 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 forces Aida to agree to find out the location of the Egyptian army from Radamès (Aida, Amonasro: Ciel, mio padre! .. Rivedrai le foreste imbalsamate / "Once again shalt thou gaze."). When he arrives, Amonasro hides behind a rock and listens to their conversation.
Radamès affirms that Aida is the person he will marry (Pur ti riveggo, mio dolce Aida .. Nel fiero anelito; Fuggiam gli ardori inospiti .. La, tra foreste vergini / "I see you again, my sweet Aida!"), and Aida convinces him to flee to the desert with her.
In order to make their escape easier, Radamès proposes that they use a safe route without any fear of discovery and he also reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radamès feels dishonored. At the same time Amneris and Ramfis leave the temple and, seeing Radamès with their enemy, call the guards. Amonasro and Aida try to convince Radamès to escape with them, but he refuses and surrenders to the imperial guards.
Act 4
Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès' prison cellAmneris (L'aborrita rivale a me sfuggia / "My hated rival has escaped me") desires to save Radamès. She calls for the guard to bring him to her.
She asks Radamès to deny the accusations, but Radamès refuses. Certain that, as punishment, he will be condemned to death, Amneris implores him to defend himself, but Radamès firmly refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: Gia i Sacerdoti adunasi / "Already the priests are assembling"). His decision hurts Amneris.
Radamès' trial takes place offstage; he does not reply to Ramfis' accusations and is condemned to death, while Amneris, who remains onstage, pleads with the priests to show him mercy. As he is sentenced to be buried alive, Amneris curses the priests while Radamès is taken away (Judgment scene, Amneris, Ramfis, and chorus: Ahime! .. morir mi sento / "Alas... I feel death").
Scene 2: The lower portion of the stage shows the vault in the Temple of Vulcan; the upper portion represents the temple itself
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The opening and close of act 4, scene 2:
("La fatal pietra" and "Morir! Si pura e bella", with some cuts in the middle), sung by Nicola Zerola in 1909. |
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The opera has been adapted for motion pictures on several occasions, most notably in a 1953 production which starred Lois Maxwell and Sophia Loren, and a 1987 Swedish production.
In both cases, the lead actors lip-synched to recordings by actual opera singers.
The opera's story, but not its music, was used as the basis for a 1998 musical of the same name written by Elton John and Tim Rice.
[edit] Recordings
Main article: Aida discography
[edit] References
- ^ Phillips-Matz, pp. 570–573
- ^ Greene (1985), p. ??
- ^ Oxford Music Online
- ^ Budden, Vol. 3, pp. 163–187
- ^ Frank (2002), p. 28
- ^ Letter from Auguste Mariette (Paris, 28 September [1871]) to Paul Draneht, general manager of the Cairo Opera House; translated and annotated in Busch 1978, pp. 224–225.
- ^ The Cairo Opera House could only hold 850 spectators (Pitt & Hassan 1992).
- ^ Baltimore Opera Company
- ^ Verdi’s Falstaff in Letters and Contemporary Reviews
- ^ a b c d Aida performance history at amadeusonline.net
- ^ Phillips-Matz 1993, p. 628.
- ^ Holden, p. 983
- ^ Irvin, p. ?
- ^ Biography of Josephine Schefsky at theaterspielen.ch (in German)
- ^ Ek Biography at operissimo.com (in German)
- ^ Loewenberg 1978, column 1019 (exact date, language).
- ^ Wolff 1962, p. 27; Phillips-Matz 1993, pp. 652–653.
- ^ Tarozzi, p. 36
- ^ Nicotra, p. ??
- ^ "Statistics, 2005–10". Operabase. Archived from the original on 2 July 2011. http://operabase.com/top.cgi?lang=en#opera. Retrieved 2 July 2011.
- ^ Budden, p. 160
- ^ AmadeusOnline
- ^ The High Priestess's name was Termuthis in early documentation.
- ^ a b "Aida and Ancient Egyptian History on the Met Opera website". http://archive.operainfo.org/broadcast/operaBackground.cgi?id=33&language=1.
- ^ Weisgall, The New York Times
- ^ 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."
- Budden, Julian (1981). The Operas of Verdi. 3. London: Cassell. ISBN 0-304-30740-8.
- Busch, Hans (1978). Verdi's Aida. The History of an Opera in Letters and Documents. Minneapolis: University of Minnesota Press. ISBN 978-0-8166-0798-3 (hardcover); ISBN 978-0-8166-5715-5 (paperback).
- Frank, Morton H., Arturo Toscanini: The NBC Years, Portland, OR: Amadeus Press, 2002 ISBN 1-57467-069-7 on books.google.com
- Greene, David Mason (1985). Greene's Biographical Encyclopedia of Composers. Reproducing Piano Roll Fnd. ISBN 0-385-14278-1.
- Holden, Amanda, editor (2001), The New Penguin Opera Guide, New York: Penguin Putnam. ISBN 0-14-029312-4
- Irvin, Eric, Dictionary of the Australian Theatre, 1788-1914, Sydney :Hale & Iremonger, 1985 ISBN 0868061271 ISBN 0-86806-127-1
- "Aida" in The Oxford Dictionary of Music, 2nd ed. rev., edited by Michael Kennedy. (Accessed 19 September 2010) (subscription required)
- Loewenberg, Alfred (1978). Annals of Opera 1597–1940 (third edition, revised). Totowa, New Jersey: Rowman and Littlefield. ISBN 978-0-87471-851-5.
- Melitz, Leo (1921). The Opera Goer's Complete Guide. Dodd, Mead and Company. (Source of synopsis with updating to its language)
- Nicotra, Tobia (2005). Arturo Toscanini. Kessinger Publ. Co. ISBN 978-1-4179-0126-5.
- Phillips-Matz, Mary Jane (1993). Verdi: A Biography, London & New York: Oxford University Press. ISBN 0-19-313204-4.
- Pitt, Charles; Hassan, Tarek H. A. (1992). "Cairo" in Sadie 1992, vol. 1, p. 682.
- Simon, Henry W. (1946). A Treasury of Grand Opera. Simon and Schuster, New York, New York.
- Sadie, Stanley, editor (1992). The New Grove Dictionary of Opera (4 volumes). London: Macmillan. ISBN 978-1-56159-228-9.
- Tarozzi, Giuseppe (1977). Non muore la musica – La vita e l'opera di Arturo Toscanini. Sugarco Edizioni. ISBN ??.)
- Weisgall, Deborah. "Looking at Ancient Egypt, Seeing Modern America", The New York Times, 14 November 1999. Retrieved 2 July 2011
- Wolff, Stéphane (1962). L'Opéra au Palais Garnier (1875–1962). Paris: Deposé au journal L'Entr'acte OCLC 7068320 and 460748195. Paris: Slatkine (1983 reprint) ISBN 978-2-05-000214-2.
- The Victrola Guide to the Opera, 6th edition.
- Wells, John (2009). "Aida". Longman Pronunciation Dictionary. Pearson Longman. ISBN 978-1-4058-8117-3.
[edit] External links
 | Wikimedia Commons has media related to: Aida (opera) |
- Aida: Free scores at the International Music Score Library Project
- Opera Guide Synopsis – Libretto – Highlights
- Classics for Kids – The Story of Aida (synopsis with musical examples)
- "Opera in a nutshell" Soundfiles (MIDI)
- Complete libretto of the opera
- Score
- Creative Commons MP3 Recording
- Aria Database list of arias
- Further Aida discography
- San Diego OperaTalk! with Nick Reveles: Verdi's Aida
- Aida by Antonio Ghislanzoni, music by Giuseppe Verdi (1871) on the Online Library of Liberty.
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