Aida

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Aida
Opera by Giuseppe Verdi
Giuseppe Verdi, c. 1872 Aida vocal score cover - Restoration.jpg
Cover of a very early vocal score, c. 1872.
Librettist Antonio Ghislanzoni
LanguageItalian
Premiere
24 December 1871 (1871-12-24)

Aida (Italian:  [aˈiːda] ) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in the Old Kingdom of Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1871, in a performance conducted by Giovanni Bottesini. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera. [1]

Opera artform combining sung text and musical score in a theatrical setting

Opera is a form of theatre in which music has a leading role and the parts are taken by singers, but is distinct from musical theater. Such a "work" is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor.

Giuseppe Verdi 19th-century Italian opera composer

Giuseppe Fortunino Francesco Verdi was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.

Libretto text used for an extended musical work

A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet.

Contents

Elements of the opera's genesis and sources

Isma'il Pasha, Khedive of Egypt, commissioned Verdi to write an opera for performance to celebrate the opening of the Khedivial Opera House, paying him 150,000 francs, [2] but the premiere was delayed because of the Siege of Paris (1870–71), during the Franco-Prussian War, when the scenery and costumes were stuck in the French capital, and Verdi's Rigoletto was performed instead. Aida eventually premiered in Cairo in late 1871. Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869, for which Verdi had been invited to write an inaugural hymn, but had declined. [3] The plot bears striking, though unintentional, similarities to Metastasio's libretto La Nitteti (1756). [3]

Ismail Pasha viceroy of Egypt and Sudan

Isma'il Pasha, known as Ismail the Magnificent, was the Khedive of Egypt and Sudan from 1863 to 1879, when he was removed at the behest of the United Kingdom of Great Britain and Ireland. Sharing the ambitious outlook of his grandfather, Muhammad Ali Pasha, he greatly modernized Egypt and Sudan during his reign, investing heavily in industrial and economic development, urbanisation, and the expansion of the country's boundaries in Africa.

Khedive noble title of the Ottoman Empire

The term Khedive is a title largely equivalent to the English word viceroy. It was first used, without official recognition, by Muhammad Ali Pasha, the governor of Egypt and Sudan, and vassal of the Ottoman Empire. The initially self-declared title was officially recognized by the Ottoman government in 1867, and used subsequently by Ismail Pasha, and his dynastic successors until 1914.

Egypt Country spanning North Africa and Southwest Asia

Egypt, officially the Arab Republic of Egypt, is a country spanning the northeast corner of Africa and southwest corner of Asia by a land bridge formed by the Sinai Peninsula. Egypt is a Mediterranean country bordered by the Gaza Strip and Israel to the northeast, the Gulf of Aqaba and the Red Sea to the east, Sudan to the south, and Libya to the west. Across the Gulf of Aqaba lies Jordan, across the Red Sea lies Saudi Arabia, and across the Mediterranean lie Greece, Turkey and Cyprus, although none share a land border with Egypt.

Performance history

Cairo premiere and initial success in Italy

Radames (Giuseppe Fancelli) and Aida (Teresa Stolz) in act 4, scene 2 of the 1872 La Scala European premiere (drawing by Leopoldo Metlicovitz) Leopoldo Metlicovitz - Aida- Act IV Scene 2.jpg
Radamès (Giuseppe Fancelli) and Aida (Teresa Stolz) in act 4, scene 2 of the 1872 La Scala European première (drawing by Leopoldo Metlicovitz)

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 insipidity". This overture, never 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. [4]

Potpourri or Pot-Pourri is a kind of musical form structured as ABCDEF..., the same as medley or, sometimes, fantasia. It is often used in light, easy-going and popular types of music.

Arturo Toscanini Italy-born American conductor

Arturo Toscanini was an Italian conductor. He was one of the most acclaimed musicians of the late 19th and of the 20th century, renowned for his intensity, his perfectionism, his ear for orchestral detail and sonority, and his eidetic memory. He was at various times the music director of La Scala in Milan, the Metropolitan Opera in New York, and the New York Philharmonic. Later in his career he was appointed the first music director of the NBC Symphony Orchestra (1937–54), and this led to his becoming a household name through his radio and television broadcasts and many recordings of the operatic and symphonic repertoire. Toscanini had absolute pitch.

The NBC Symphony Orchestra was a radio orchestra established by David Sarnoff, the president of the Radio Corporation of America, especially for the celebrated conductor Arturo Toscanini. The NBC Symphony performed weekly radio concert broadcasts with Toscanini and other conductors and served as house orchestra for the NBC network. The orchestra's first broadcast was on November 13, 1937 and it continued until disbanded in 1954. A new ensemble, independent of the network, called the "'Symphony of the Air'" followed. It was made up of former members of the NBC Symphony Orchestra and performed from 1954 to 1963, notably under Leopold Stokowski.

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, who also oversaw the design and construction of the sets, which were made in Paris by the Opéra's scene painters Auguste-Alfred Rubé and Philippe Chaperon (acts 1 and 4) and Édouard Desplechin and Jean-Baptiste Lavastre (acts 2 and 3), and shipped to Cairo. [5] 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. [6] He therefore considered the Italian (and European) premiere, held at La Scala, Milan on 8 February 1872, and a performance in which he was heavily involved at every stage, to be its real premiere.

Auguste Mariette French archaeologist and egyptologist

François Auguste Ferdinand Mariette was a French scholar, archaeologist and Egyptologist, and founder of the Egyptian Department of Antiquities.

Paris Opera the primary opera company of France

The Paris Opera is the primary opera and ballet company of France. It was founded in 1669 by Louis XIV as the Académie d'Opéra, and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the Académie Royale de Musique, but continued to be known more simply as the Opéra. Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Currently called the Opéra National de Paris, it mainly produces operas at its modern 2700-seat theatre Opéra Bastille which opened in 1989, and ballets and some classical operas at the older 1970-seat Palais Garnier which opened in 1875. Small scale and contemporary works are also staged in the 500-seat Amphitheatre under the Opéra Bastille.

Philippe Chaperon French painter, 1823-1907

Philippe Chaperon was a French painter and scenic designer, particularly known for his work at the Paris Opera. He produced stage designs for the premieres of numerous 19th-century operas, including Verdi's Don Carlos and Aida, Massenet's Le Cid, Saint-Saëns's Henri VIII, part two of Berlioz's Les Troyens and the first performances in France of Verdi's Otello and Rigoletto and Wagner's Tannhäuser.

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. [7]

Teresa Stolz Czech opera singer

Teresa Stolz was a Bohemian soprano, long resident in Italy, who was associated with significant premieres of the works of Giuseppe Verdi, and may have been his mistress. She has been described as "the Verdian dramatic soprano par excellence, powerful, passionate in utterance, but dignified in manner and secure in tone and control".

Angelo Mariani (conductor) Italian opera conductor and composer

Angelo Maurizio Gaspare Mariani was an Italian opera conductor and composer. His work as a conductor drew praise from Giuseppe Verdi, Giacomo Meyerbeer, Gioachino Rossini and Richard Wagner, and he was a longtime personal friend of Verdi's, although they had a falling out towards the end of Mariani's life. He conducted at least two world premieres ; and at least 4 Italian premieres.

Giovanni Bottesini Italian composer, conductor, double bass player

Giovanni Bottesini, was an Italian Romantic composer, conductor, and a double bass virtuoso.

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. [8]

Teatro Regio (Parma) opera house in Parma, Italy

The Teatro Regio di Parma, originally constructed as the Nuovo Teatro Ducale, is an opera house and opera company in Parma, Italy.

Teatro di San Carlo opera house in Naples, Italy

The Real Teatro di San Carlo, its original name under the Bourbon monarchy but known today as simply the Teatro di San Carlo, is an opera house in Naples, Italy. It is located adjacent to the central Piazza del Plebiscito, and connected to the Royal Palace.

La Fenice Opera house in Venice, Italy

Teatro La Fenice is an opera house in Venice, Italy. It is one of "the most famous and renowned landmarks in the history of Italian theatre", and in the history of opera as a whole. Especially in the 19th century, La Fenice became the site of many famous operatic premieres at which the works of several of the four major bel canto era composers – Rossini, Bellini, Donizetti, Verdi – were performed.

Other 19th-century performances

Verdi conducting the 1880 Paris Opera premiere Verdi conducting Aida in Paris 1880 - Gallica - Restoration.jpg
Verdi conducting the 1880 Paris Opera premiere

Details of important national and other premieres of Aida follow:

20th century and beyond

A scene from the Israeli Opera production performed at Masada in 2011 PikiWiki Israel 13773 AIDA AT MASADA 2011.jpg
A scene from the Israeli Opera production performed at Masada in 2011

A complete concert version of the opera was given in New York City in 1949. Conducted by Toscanini with Herva Nelli as Aida and Richard Tucker as Radamès, it was televised on the NBC television network. Due to the length of the opera, it was divided into two telecasts, preserved on kinescopes, and later released on video by RCA 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 with Maria Callas as Aida and Richard Tucker as Radamès and a 1959 performance conducted by Herbert van Karajan with Renata Tebaldi as Aida and Carlo Bergonzi as Radamès. [21]

La Scala mounted a lavish new production of Aida designed by Franco Zeffirelli for the opening night of its 2006/2007 season. The production starred Violeta Urmana in the title role and Roberto 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 La Scala's rental of the production to the Astana Opera House in Kazakhstan without his permission. According to Zeffirelli, the move had doomed his production to an "infamous and brutal" fate. [22] [23] [24]

Props from the Aida set outside the Roman amphitheatre in Verona (2018) Aida Verona Arena.jpg
Props from the Aida set outside the Roman amphitheatre in Verona (2018)

Aida continues to be a staple of the standard operatic repertoire. [25] It is frequently performed in the Verona Arena, and is a staple of its renowned opera festival. [26]

Roles

Role Voice type Premiere cast,
24 December 1871 [27]
Cairo
(Conductor: Giovanni Bottesini)
European premiere
8 February 1872 [28]
La Scala, Milan
(Conductor: Franco Faccio)
Aida, an Ethiopian princess soprano Antonietta Anastasi-Pozzoni Teresa Stolz
The King of Egypt bass Tommaso CostaParide Pavoleri
Amneris, daughter of the King mezzo-soprano Eleonora Grossi Maria Waldmann
Radamès, Captain of the Guard tenor Pietro MonginiGiuseppe Fancelli
Amonasro, King of Ethiopia baritone Francesco StellerFrancesco Pandolfini
Ramfis, high PriestbassPaolo MediniOrmando Maini
A messengertenorLuigi Stecchi-BottardiLuigi Vistarini
Voice of the High Priestess [29] sopranoMarietta Allievi
Priests, priestesses, ministers, captains, soldiers, officials, Ethiopians, slaves and prisoners, Egyptians, animals and chorus

Setting

Poster for a 1908 production in Cleveland, showing the triumphal scene in act 2, scene 2 Aida poster colors fixed.jpg
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 the Old Kingdom. [30] For the first production, Mariette went to great efforts to make the sets and costumes authentic. [31] Given 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. [30]

Synopsis

Backstory: The Egyptians have captured and enslaved Aida, an Ethiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the King of Egypt. To complicate the story further, the King's daughter Amneris is in love with Radamès, 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 are visible

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 (Ramfis, Radamès: "Sì, corre voce l'Etiope ardisca" / Yes, it is rumored 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" / In your looks I trace a joy unwonted).

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). [[File:Set design by Philippe Chaperon for Act1 sc2 of Aida by Verdi 1871 Cairo - Gallica - Restored.jpg|thumb|upright=1.35|Set design by Philippe 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 towards Thebes. The King declares war and proclaims that Radamès is the man chosen by the goddess Isis 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 Vulcan

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

Act 2

Scene 1: The chamber of Amneris

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 of Moorish slaves (Chorus, Amneris: "Vieni: sul crin ti piovano" / Come bind your flowing tresses).

Act 2, scene 2, set design for the Cairo premiere by Edouard Desplechin Set design by Edouard Desplechin for Act2 sc2 of Aida by Verdi 1871 Cairo - Gallica.jpg
Act 2, scene 2, set design for the Cairo premiere by Édouard Desplechin

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, [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.

Act 3

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

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.

In order to make their escape easier, Radamès proposes that they use a safe route without any fear of discovery and reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radamès realizes, to his extreme dismay, that he has unwittingly revealed a crucial military secret to the enemy. At the same time, Amneris and Ramfis leave the temple and, seeing Radamès in conference with the enemy, call for the imperial guards. Amonasro draws a dagger, intending to kill Amneris and Ramfis before the guards can hear them, but Radamès disarms him, quickly orders him to flee with Aida, and surrenders himself to the imperial guards as Aida and Amonasro run off. The guards arrest him as a traitor.

Act 4

Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès' prison cell

Amneris desires 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 he 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, e deciso il tuo fato" / Alas .. I feel death .. Radamès, your fate is decided).

Scene 2: The lower portion of the stage shows the vault in the Temple of Vulcan; 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 and Aida: "La fatal pietra sovra me si chiuse." / The fatal stone now closes over me). They accept their terrible fate (Radamès: "Morir! Si pura e bella" / To die! So pure and lovely!) and bid farewell to Earth and its sorrows. [32] Above the vault in the temple of Vulcan, 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 Ftha. (Chorus, Aida, Radamès, Amneris: "Immenso Ftha" / Almighty Ptah).

Adaptations

The opera has been adapted for motion pictures on several occasions, most notably in a 1953 production which starred Lois Maxwell as Amneris and Sophia Loren as Aida, and a 1987 Swedish production. In both cases, the lead actors lip-synched to recordings by actual opera singers. In the case of the 1953 film, Ebe Stignani sang as Amneris, while Renata Tebaldi sang as Aida. 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

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Carlo Meliciani is an Italian operatic baritone who had an active international career from the mid-1950s through the late 1970s. From 1959-1979 he was on the roster of singers at La Scala in Milan. Although he sang a wide repertoire, he was particularly known for his portrayal of roles from the operas of Giuseppe Verdi. He notably recorded the part of Don Carlo in Ernani in 1969 with Plácido Domingo in the title role.

Nicola Zerola Italian opera singer

Nicola Zerola was an Italian operatic tenor who had an active international career from 1898-1928. He began his career in his native country, but was soon heard in concerts and operas internationally during the first years of the 20th century. In 1908 he relocated to the United States where he was active with important opera companies in New York, Chicago, and Philadelphia up into the late 1920s. In 1910 he recorded several selections from Verdi's Otello for the Victor Talking Machine Company. He also made 11 solo recordings and one duet for the Gramophone and Typewriter Company in 1910-1911.

Orlin Anastassov is a Bulgarian opera singer with an active international career performing leading bass roles. A winner of the 1999 Operalia competition, he has also performed many times as the bass soloist in the Verdi Requiem.

Bruna Castagna was an Italian mezzo-soprano.

Rafał Siwek

Rafał Siwek – Polish opera singer (bass)

References

Notes

  1. Phillips-Matz, pp. 570–573
  2. Greene (1985)[ page needed ]
  3. 1 2 The New Grove Dictionary of Opera , accessed through Oxford Music Online
  4. Frank (2002), p. 28
  5. Auguste Mariette to Paul Draneht (General Manager of the Cairo Opera House), Paris, 28 September 1871. (Translated and annotated ), Busch (1978), pp. 224–225.
  6. The Cairo Opera House could only hold 850 spectators (Pitt & Hassan 1992).
  7. Verdi's Falstaff in Letters and Contemporary Reviews on questia-online-library.com (subscription required)
  8. 1 2 3 4 Casaglia, Gherardo (2005). "Aida performance history" . L'Almanacco di Gherardo Casaglia (in Italian).
  9. McCants, Clyde (2005). Verdi's Aida: A Record of the Life of the Opera On and Off the Stage. McFarland. ISBN   978-0786423286.
  10. Busch, Hans (1978). Verdi's Aida: The History of an Opera in Letters and Documents. University of Minnesota Press. ISBN   978-0816657155.
  11. Phillips-Matz 1993, p. 628.
  12. David Kimbell, in Holden, p. 983
  13. Irvin [ page needed ]
  14. "Biography of Josephine Schefsky at theaterspielen.ch (in German)" (PDF). Archived from the original (PDF) on 2012-02-27. Retrieved 2009-09-28.
  15. Ek Biography at operissimo.com (in German) Archived 2012-01-11 at the Wayback Machine
  16. Loewenberg 1978, column 1019 (exact date, language).
  17. Wolff 1962, p. 27; Phillips-Matz 1993, pp. 652–653.
  18. Tarozzi, p. 36
  19. Nicotra, [ page needed ]
  20. Collins, Liat (4 June 2011). "Conquering Masada". The Jerusalem Post . Retrieved 19 May 2016.
  21. OCLC   807743126; OCLC   65964014
  22. Christiansen, Rupert (9 December 2006). "Zeffirelli's triumphant Aida at La Scala". The Daily Telegraph . Retrieved 19 May 2016.
  23. BBC News (11 December 2006). "Booed tenor quits La Scala's Aida". Retrieved 19 May 2016.
  24. Day, Michael (9 October 2014). "Franco Zeffirelli takes on La Scala: Legendary opera director in battle with theatre over sale of one of his 'greatest' productions to Kazakhstan". The Independent . Retrieved 19 May 2016.
  25. Operabase. Performances during the 2008/09 to 2012/13 seasons. Retrieved 19 May 2016.
  26. "Aida alla recita 14 per l'opera Festival 2018" (in Italian). Economic Veronese. 23 August 2018. Retrieved 27 August 2018.
  27. Budden, p. 160
  28. Casaglia, Gherardo (2005). "Aida, 8 February 1872" . L'Almanacco di Gherardo Casaglia (in Italian).
  29. The High Priestess's name was Termuthis in early documentation.
  30. 1 2 "Aida and Ancient Egyptian History on the Met Opera website". Archived from the original on 2003-05-03.
  31. Weisgall, The New York Times
  32. 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."

Cited sources

Other sources