From Wikipedia, the free encyclopedia

Giuseppe Verdi
Operas Oberto (1839) Un giorno di regno (1840) Nabucco (1842) I Lombardi alla prima crociata (1843) Ernani (1844) I due Foscari (1844) Giovanna d'Arco (1845) Alzira (1845) Attila (1846) Macbeth (1847) I masnadieri (1847) Jérusalem (1847) Il corsaro (1848) La battaglia di Legnano (1849) Luisa Miller (1849) Stiffelio (1850) Rigoletto (1851) Il trovatore (1853) La traviata (1853) Les vêpres siciliennes (1855) Simon Boccanegra (1857) Aroldo (1857) Un ballo in maschera (1859) La forza del destino (1862) Don Carlos (1867) Aida (1871) Otello (1887) Falstaff (1893)

Aida (sometimes spelled Aïda, pronounced /ɑːˈiːdɑː/ ah-EE-dah, from Arabic: عايدة‎, pronounced [ˈʕaːjdah], an Arabic female name meaning "visitor" or "returning") is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette. Aida was first performed at the Khedivial Opera House in Cairo on 24 December 1871, conducted by Giovanni Bottesini.

Origin

Ismail Pasha, Khedive of Egypt, commissioned Verdi to write the opera for performance in January 1871, paying him 150,000 francs,^[1] but the premiere was delayed because of the Franco-Prussian War. One scholar has argued that the scenario was written by Temistocle Solera and not by Auguste Mariette.^[2] 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".) ^[3]

Performance history

Cairo premiere and initial success in Italy

Sketch by Auguste Mariette for the premiere.

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 - his own words - 'pretentious insipidity'.

Aida met with great acclaim when it finally opened in Cairo on 24 December 1871. The costumes, accessories and stages for the premiere were designed by Auguste Mariette. 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 (and European) 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.^[4] The Milan Amneris, Maria Waldmann, was his favourite in the role and she repeated it a number of times at his request.^[5]

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.^[6]

Most performances of Aida have used a subdued, relatively brief, prelude. Verdi also composed a longer concert overture, which includes more melodies from the opera; this was given a rare broadcast performance by Arturo Toscanini and the NBC Symphony Orchestra on March 30, 1940, which was never commercially issued.^[7]

Rise to international fame

Poster for a 1908 production in Cleveland, Ohio.

Details of important national and other premieres of Aida follow:

• The Americas: 4 October 1873, Teatro Colón in Buenos Aires
• United States: 26 November 1873, Academy of Music in New York City, with Ostava Torriani in the title role, Annie Louise Cary as Amneris, Italo Campanini as Radames, Victor Maurel as Amonasro, and Evasio Scolara as the King
• Germany: 20 April 1874, Berlin State Opera, with Mathilde Mallinger as Aida, Albert Niemann as Radames, and Franz Betz as Amonasro
• Spain: 12 December 1874, Teatro Real
• Austria: 29 April 1874,Vienna State Opera, with Amalie Materna as Amneris
• Hungary: 10 April 1875, Hungarian State Opera House, Budapest^[6]
• France: 22 April 1876, Théâtre-Lyrique Italien, Salle Ventadour, Paris, with almost the same cast as the Milan premiere^[6]
• Russia: 1 December 1875, Mariinsky Theatre, Saint Petersburg
• Czechoslovakia: 11 December 1875, New Czech Theatre, Prague
• United Kingdom: 22 June 1876, Royal Opera House, Covent Garden, with Adelina Patti as Aida, Ernesto Nicolini as Radames, and Francesco Graziani as Amonasro^[8]
• Monaco: 13 May 1877, National Theatre, Monte Carlo
• Australia: 6 September 1877, Royal Theatre, Melbourne^[9]
• Munich: 1877, Bavarian State Opera, with Josephine Schefsky as Amneris^[10]
• Stockholm: 1880, Royal Swedish Opera, with Selma Ek in the title role^[11]
• Palais Garnier, Paris: 15 October 1881, with Gabrielle Krauss as Aida, Rosine Bloch as Amnéris, Henri Sellier as Radames, Georges-François Menu as the King, and Auguste Boudouresque as Ramphis.
• Metropolitan Opera, New York: 12 November 1886, conducted by Anton Seidl, with Therese Herbert-Förster (the wife of Victor Herbert) in the title role, Carl Zobel as Radames, Marianne Brandt as Amneris, Adolf Robinson as Amonasro, Emil Fischer as Ramfis, and Georg Sieglitz as the King.^[6]
• Rio de Janeiro: 30 June 1886, Theatro Lyrico Fluminense. During rehearsals at the Theatro Lyrico there was an ongoing quarrel between the performers of the Italian touring opera company and the local inept conductor, with the result that substitute conductors were rejected by the audience. Arturo Toscanini, at the time a 19-year-old cellist who was assistant chorus master, was persuaded to take up the baton for the performance. Toscanini conducted the entire opera from memory, with great success. This would be the start of a promising career.^[12][13]

20th and 21st centuries

2007 production of Aida at the Arena di Verona.

Aida continues to be a staple of the standard operatic repertoire and appears as number 16 on Opera America's list of the 20 most-performed operas in North America.^[14] 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.

Roles

Setting

The opera does not specify a very precise time period and so it is difficult to place it more accurately than the Old Kingdom.^[17] For the first production, Mariette went to great efforts to make the sets and costumes authentic.^[18] 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.^[17]

Synopsis

The "triumphal scene" from Opera Pacific's production of Aida in 2006, starring Angela Brown as Aida, Donnie Ray Albert as Amonasro, Andrew Gangestad as Ramfis, Carl Tanner as Radames, Milena Kitic as Amneris, and Stefan Szkafarowsky as King of Egypt.

Overview: Aida, an Ethiopian princess, is captured and brought into slavery in Egypt. A military commander, Radames, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, Radames 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 Memphis

Ramfis, the high priest of Egypt tells Radames, the young warrior, that war with the Ethiopians seems inevitable, and Radames expresses the hope that he be chosen as the Egyptian commander. (Ramfis, Radames : Si, corre voce I'Etiope ardisca / "Yes, it is rumored that Ethiopia dares once again to threaten our power").

Radames dreams both of gaining victory on the battle field and of Aida, the Ethiopian slave, with whom he is secretly in love (Radames: Se quel guerrier io fossi!...Celeste Aida - "Heavenly Aïda"). Aida, who is also secretly in love with Radames, 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 Radames, but fears that his heart belongs to somebody else (Radames, Amneris: Quale insolita gioia nel tuo sguardo - "In your looks I trace a joy unwanted").

Then Aida appears and, when Radames 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, Radames: 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 Radames to be the man chosen by the goddess Isis as leader of the army (The King, Messenger, Radames, Aida, Amneris, chorus: Alta cagion v'aduna / "Oh fate o'er Egypt looming"). Upon receiving the mandate from the King, Radames proceeds to the temple of Vulcan to take up the sacred arms (The King, Radames, Aida, Amneris, chorus: Su! del Nilo al sacro lido / "On! Of Nilus' sacred river, guard the shores").

Alone in the hall, Aida is torn between her love for her father, her country, and Radames. (Aida: Ritorna vincitor - "Return a conqueror").

Scene 2: Inside the Temple of Vulcan

Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radames: Possente Ftha...Tu che dal nulla - "O mighty Ptah.") followed by the installation of Radames to the office of commander-in-chief. (High Priestess, chorus, Radames: 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

Scene 1: The chamber of Amneris

Dances and music to celebrate Radames' 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 Radames' 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 Radames 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 Radames 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

Radames 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 Radames 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. 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, Radames, 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, Radames pleads with him to spare the lives of the prisoners and to set them free. Gratefully, the King of Egypt declares Radames to be his successor and to be his daughter's betrothed (Aida, Amneris, Radames, 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

On the banks of the Nile, near the Temple of Isis

Prayers are said (Chorus, Ramfis, Amneris: O tu che sei d'Osiride / "O thou who to Osiris art...") on the eve of Amneris and Radames' wedding in the Temple of Isis. Outside, Aida waits to meet with Radames as they had planned (Aida: Qui Radames 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 Radames (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.

Radames 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, Radames 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. Radames feels dishonored. At the same time Amneris and Ramfis leave the temple and, seeing Radames with their enemy, call the guards. Amonasro and Aida try to convince Radames 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 Radames' prison cell

Amneris ( L'aborrita rivale a me sfuggia / "My hated rival has escaped me") desires to save Radames. She calls for the guard to bring him to her.

She asks Radames to deny the accusations, but Radames refuses. Certain that, as punishment, he will be condemned to death, Amneris implores him to defend himself, but Radames firmly refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radames: Gia i Sacerdoti adunasi / "Already the priests are assembling"). His decision hurts Amneris.

Radames' 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 Radames 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

Radames has been taken into the lower floor of the temple and sealed up in a dark vault. Thinking that he is alone and hoping 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 Radames. (Radames and Aida: La fatal pietra sovra me si chiuse. / "The fatal stone now closes over me.") They accept their terrible fate (Radames: Morir! Si pura e bella / "To die! So pure and lovely!") and bid farewell to earth and its sorrows.^[19] Above the vault in the temple of Vulcan, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radames' arms. (Chorus, Aida, Radames, Amneris: Immenso Ftha / "Almighty Ptha.")^[20]

Adaptations

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.

Recordings

See Aida discography.

Notes

References

• Simon, Henry W. (1946). A Treasury of Grand Opera. Simon and Schuster, New York, New York. 
• The Victrola Guide to the Opera, 6th edition.
• Berenguer González, Ramón T. "Aida" Marcha Triunfal -Mp3 Techno Cover 6923840, Legran Studio Composers "I Love Classics" Album.

External links

• 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 or (alternative location)
• Score
• Creative Commons MP3 Recording
• Aria Database list of arias
• Further Aida discography
• San Diego OperaTalk! with Nick Reveles: Verdi's Aida

From Wikiquote

Aida (2000-2004) is a Broadway musical with music composed by Elton John and book/lyrics written by Tim Rice. It is based on Aida (1871), an Italian opera in four acts by Giuseppe Verdi with a libretto by Antonio Ghislanzoni.

Amneris

• Every story, new or ancient, bagatelle or work of art: all are tales of human failing; all are tales of love at heart... --"Every Story is a Love Story"

• Perfection is such hard work to maintain, but worth the effort, don't you think?

• Conversation? Wit? I am a doubter. Manners? Charm? They're no way to impress. So forget the inner me - observe the outer: I am what I wear and how I dress! -- "My Strongest Suit"

• They want a goddess and I'm just...human.

• Are you trying to get me drunk, Radames? You know it's not necessary.

• This should have been my time; It's over. It never began. -- "I Know the Truth"

Radames

Nothing is an accident, we are free to have it all. We are what we want to be; it's in ourselves to rise or fall. -- "Fortune Favors the Brave"

• And who'd have thought I'd throw my world away to be with someone I'm afraid will say "Not me."...Not me. --"Not Me"
• I'm sorry for everything I've said and for anything I forgot to say too. When things get so complicated I stumble, at best, muddle through. I wish that our lives could be simple; I don't want the world: only you. I wish I could tell you this face to face, but there's never the time - never the place! So this letter will have to do; I love you. -- "Radames Letter"

• You are all I'll ever want, but this - I am denied. Sometimes in my darkest thoughts I wish I'd never learned what it is to be in love and have that love returned. -- "Written in the Stars"
• Evil's a distinctive smell. -- "Like Father, Like Son"
• I'm no chip off any block, i wouldn't wish those words on anyone -- "Like Father, Like Son"
• I've done wrong, I can't deny -- "Like Father, Like Son"
• If I have to search for a hundred lifetimes, I will find you again, Aida.

Aida

• [about Radames] What that man understands could be etched in a grain of sand.
• If you don't like your fate, change it. You are your own master, there are no shackles on you. So don't expect any pity or understanding from this humble palace slave! --"Enchantment Passing Through"
• I know expectations are wild and almost beyond my fullfillment, but they won't hear a word of a doubt or see signs of a weakness. My nigh on impossible duty is clear: If I can rekindle my ancestor's dreams, It's enough. -- "Dance of the Robe"
• [with Radames] We all lead such elaborate lives, we don't know who's words are true. Strangers, lovers, husbands, wives: hard to know who's loving who. -- "Elaborate Lives".
• Nubia will never die! Whether we are enslaved or whether we are far from our native soil, Nubia lives in our hearts. And therefore, it lives.
• I'm here to tell you we can never meet again. Simple really, isn't it? A word or two and then a lifetime of not knowing where, or how, or why, or when you'll think of me, or speak of me, and wonder what befell that someone you once loved so long ago so well. -- "Written in the Stars"

• Is this how the Gods reward the faithful through the ages? Forcing us to prove that all the hardest things we've done are easy. -- "Easy as Life"

Zoser

• You can't escape your genes -- "Like Father, Like Son"
• You're not the master of your fate -- "Like Father, Like Son"
• Once we rid him of this plight, once that harlot's out of sight, then I think he'll see the light. He won't walk back to daddy, he will run! -- "Like Father, Like Son"
• Eygpt needs me!
• Soon our monarch will have filled a tomb, just like his fathers did -- "Another Pyramid"
• Put 5,000 slaves on standby, build another Pyramid -- "Another Pyramid"

Mereb

• He's in love, but he's not the only one to be changed... --"Not Me"
• Princess Amneris - first in beauty, wisdom...and accessories
• For years i've been stealing from the palace. I thought, one day, I could get back to Nubia, but if i can send my king home...

Amonasro

• I would not have thought it possible that these Egyptians could give me one more reason to hate them!
• I knew you would survive, that I had trained my daughter well. At least I would not let myself believe anything else (after being reunited with Aida)
• We will all be going home, Mereb
• Aida! Do not shame yourself, and me, with such witless sentiment! Do not tell me this Egyptian grieves for the Nubian men executed, the women ravaged, and the children taken into slavery. Any soft word you have given this Captain, any soft word, betrays the innocents who suffered at his hands and at the hands of every soldier he commands. You will cut this man from your heart!

Dialogue

Aida: [holding a sword to a soldier's neck] You took us from Nubia, and now you say we belong to you, yes?

Radames: Yes.

Aida: Well, I took this soldier from your ranks. So by your own logic, he belongs to me.

Radames: Your much better with a sword than you are with a sponge.

Aida: I wish I had a sword now

Radames: There's mine, help yourself

Amneris: Another handmaiden? I don't need another handmaiden. Does this gift even have a name?

Aida: Aida.

Amneris: Did you just speak?

Aida: My name is Aida, Princess. And I think you might wish to know...

Amneris: How dare you! You do not lower your eyes. You do not tremble - Are you not afraid of me?

Aida: Would it please you if I were?

Amneris: ...Not so much.

Aida: Then I am doing as you please.

Radames: You look lovely!

Amneris: Thank you.

Radames: Is this the latest fashion?

Amneris: It is now.

Radames: It doesn't matter, because I know now that you were right. [Aida gives him a look]...What?

Aida: I'm shocked. Even in enlightened Nubia, one never hears a man admit he's wrong.

Amneris: Radames! You barge into my bedchamber, waging a full-frontal attack, so to speak... and now you're stalling. Why?

Radames: I'm sorry, I didn't realize...

Amneris: There's a buck-naked princess lounging in her bed, calling your name. What exactly didn't you realize? Before our wedding night, pack up some of that dried monkey meat and have the royal cartographer draw you a map of the female body, Captain. Maybe then you'll be more inclined to come explore. [Radames leaves.] ...Was it something I said?

Aida: You want my "affection", Captain?

Radames: I can have your "affection" right here, if I command it.

Amonasro: Can you use a sword, boy?

Mereb: Me? Actually, I'm better at providing encouragement from the sidelines.

Amneris: But why did we invade Babylon?

Zozer: Because once we have control of the waterways, the rest of the world opens up to us.

Amneris: Yes, but our Egyptian armies just stormed in and seized power? How oppressive of us.

Zozer: Perhaps, Princess. But where do you think that beautiful necklace came from? [points to necklace]

Amneris: [taking necklace off] ...Suddenly it's not so beautiful.

Radames: So you lied to me

Aida: Not when I said I loved you, say you believe me

Definition from Wiktionary, a free dictionary

English

Etymology

From Italian Aida, made famous by the opera.

Proper noun

Aida

1. A female given name in quiet use since the 1870s.

Translations

Italian

Etymology

Coined name of an imaginary Ethiopian princess in Giuseppe Verdi's opera Aida (1871).

Proper noun

Aida f.

1. A female given name.

Quotations

• 1871 Giuseppe Verdi - Antonio Ghislanzoni, Celeste Aida ( an aria in the opera Aida):

  Celeste Aida, / forma divina, / mistico serto / di luce e fior.

  Heavenly Aida, / divine form, / mystical garland / of light and flowers.