6/17/2023 0 Comments Giuseppe verdi aida![]() Compared with Wagner himself, it is Verdian - purely Italian. In point of fact "Aida" is Wagnerian only as compared with Verdis earlier operas. I recall some of he early comment on the opera. Nanneti as Ramphis, the high priest, Scolara as the King, and Boy as the Messenger, completed the cast. Torriani, the Aida, while not so disntiguished, was entirely adequate. No greater artists have appeared in these roles in this country. In support of this statement it is only necessary to say that Italo Campanini was Rhadames, Victor Maurel Amonasro, and Annie Louise Cary Amneris. For the artists who appeared in it gave a representation that for brilliancy has not been surpassed if, indeed, it has been equalled. I am glad to have heard that performance and several other performances of it that season. It was produced at the Academy of Music under the direction of Max Strakosch, November 26, 1873. It is an interesting fact that "Aida" reached New York before it did any of the great European opera houses save La Scala. Its success was sensational.Įqually enthusiastic was its reception when brought out at La Scala, Milan, February 7, 1872, under the direction of Verdi himself, who was recalled thirty-two times and presented with an ivory baton and diamond star with the name of Aida in rubies and his own in other precious stones. The opera was produced there Decemnot at the opening of the house, as sometimes is erroneously stated. "Aida" was commissioned by Ismail Pacha, Khedive of Egypt, for the Italian Theatre in Cairo, which opened in November, 1869. Place: Memphis and Thebes, Ancient Egypt. Priest, soldiers, Ethiopian slaves, prisoners, Egyptians, etc. ContraltoĪMONASRO, King of Ethiopia, father of Aida. Produced in Cairo, Egypt, DecemLa Scala, Milan under the composers direction, FebruThéâtre Italien, Paris, ApCovent Garden, London, June 22, 1876, Academy of Music, New York, NovemGrand Opera, Paris, March 22, 1880, Metropolitan Opéra House, with Caruso, 1904.ĪMNERIS, daughter of the King of Egypt. Translated into Italian verse by Antonio Ghislanzoni. Written in French prose by Camille du Locle. In the darkness of his tomb, Radames finds Aïda who has come to join him and die by his side.Grand opera in four acts by Giuseppe Verdi. Sentenced to be buried alive, Radames accepts his fate, to the dismay of Amneris, who is willing to do anything to save his life. But the glorious hero will soon be an outcast, accused of betraying his country by revealing military secrets to Aïda, who is the daughter of the King of Ethiopia, Amonasro. The Egyptian troops are victorious, representing a triumph for Radames, to whom the king betroths his daughter as a reward. Aïda is her slave, and also, due to a twist of fate, her rival. The other threat they face is Amneris, the daughter of the King of Egypt, who is also in love with Radames. The Egyptian general Radames is in love with an Ethiopian slave, Aïda, a love that is threatened by an imminent war between their respective countries. ![]() In this marvellous setting the melodic balm of Verdi's music is as fascinating as ever.Īncient Egypt. Under the skies of ancient Egypt, Verdi reaches a new level of maturity and depth in his relentless quest for human truths, giving the tumultuous relations of Aïda, Radames and Amonasro touches of true sincerity. ![]() The triumphal scenes feature trumpets and drums, while intimate conflicts and love scenes are marked by the soft glow of woodwinds and strings, with, in the background the otherworldly voice of Isis. Aïda is in fact a series of personal tragedies, developing in an impressive decorum, consisting in rituals and pompous processions. A paradox? On the contrary, it offers a highly fertile duality. Welcome to ancient Egypt, the most grandiose setting of any of Giuseppe Verdi’s operas, but also the backdrop of an intensely intimate drama. ![]()
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