A century after his death, Verdi remains the presiding genius of Italian opera and one of the two or three dominant figures in the whole history of the lyric stage. Twelve of his twenty-eight operas are âcoreâ repertory; and most of them have ranked high in public popularity from the time they first appeared. However radical he may have been as a composer, Verdi never lost the common touch, or the ability to make an instant impact. Born in humble circumstances in a village near Parma, he studied in Milan and had his first opera, Oberto, staged there at La Scala. But his first real success came several years later with Nabucco, whose story of lost nationhood acquired peculiar resonance in Risorgimento Italy, where political factions were fighting to create a single state out of a collection of principalities. Overnight, Verdi became a patriotic hero; and the rousing, high-adrenalin (some might say tubthumping) tunes of his early operas were adopted as popular anthems of the Unification cause. From then on his work was in constant demand, and there followed what Verdi called his âyears in the galleyâ, generating one score after the next in relentless succession. In the 1850s he produced his most popular works â Rigoletto, La Traviata and IlTrovatore, but then the pace slowed down as Verdi settled into the life of a well-heeled country squire and nationally-famous politician (he was made a deputy in the first all-Italian parliament). His mature operas tended to be longer, more complex scores, following the model of French grand opera â notably Don Carlos and Aida, which promised to be his last work. However, after a long gap he started to compose again in old age, producing three Indian summer operas, all with libretti by the young poet/composer Boito: Simon Boccanegra (rewritten from an earlier version), Otello and Falstaff. Most commentators consider them his greatest works.
Aida
FORM: Opera in four acts; in Italian
COMPOSER: Giuseppe Verdi (1813â1901)
LIBRETTO: Antonio Ghislanzoni; after Mariette and du Locle
FIRST PERFORMANCE: Cairo, 24 December 1871
Principal Characters
The King of Egypt
Bass
Amneris, his daughter
Mezzo-soprano
Aida, her slave, an Ethiopian prisoner and daughter of Amonasro
Soprano
Amonasro, King of Ethiopia
Baritone
RadamĂšs, captain of the Egyptian guard
Tenor
Ramfis, the Egyptian high priest
Bass
Synopsis of the Plot
Setting: Memphis and Thebes in the time of the pharaohs
ACT I The Ethiopians have invaded Egypt and a new leader for the Egyptian armies is about to be chosen. RadamĂšs, inspired by his love for Aida, a captured Ethiopian slave, longs to be chosen to lead his countrymen to victory so that he can return and claim her as his bride. But RadamĂšs, in turn, is loved by Amneris, the King of Egyptâs daughter, who suspects Aida to be her rival. The new leader is about to be chosen and the king and priests enter to await the decision: the great god, Isis, has designated RadamĂšs to be the leader and he is overjoyed. Aida, however, is torn by conflicting emotions â her love for RadamĂšs and loyalty to her father who, unbeknown to the Egyptians, is the Ethiopian king.
ACT II RadamĂšs and his forces have routed the Ethiopians and he is on his way home. Amneris, determined to find out the truth about the relationship between Aida and RadamĂšs, pretends to Aida that he has been killed, thus provoking Aida into admitting her love for him. Amneris scornfully dismisses her slave as an unworthy consort for a great warrior, and prepares herself to greet RadamĂšs. The victor returns, in great splendour, bringing with him several prisoners, among whom is Amonasro, disguised as an ordinary soldier, though immediately recognised by his daughter. Amonasro begs the King to show mercy on the prisoners and, supported by RadamĂšs and the Egyptian people, the King agrees to release them, keeping only Amonasro as a hostage. To the horror of RadamĂšs and Aida, the King then gives his daughter, Amneris, to the warrior as his bride.
ACT III Amneris goes to the temple to ask the godsâ blessing on her marriage, as Aida arrives for an assignation with RadamĂšs. But before her lover arrives, Amonasro appears and convinces her that she owes it to her country to find out from RadamĂšs which route the Egyptian forces are planning to use to invade Ethiopia. Reluctantly Aida agrees to do so and she extracts the information from RadamĂšs; just then Amonasro steps forward and reveals his true identity to the stunned warrior, who realises he has betrayed his country. They are overheard by Amneris and Ramfis, the priest, who emerge from the temple; the guards are called but RadamĂšs manages to help Aida and Amonasro to escape before he is taken himself.
ACT IV Amonasro is dead and Aida has disappeared. Amneris, trying desperately to save RadamĂšs, offers to plead for him if he will repent and renounce Aida. RadamĂšs refuses. He is tried, sentenced to be buried alive and taken away. As the walls of his burial chamber are sealed up, RadamĂšs discovers that Aida has concealed herself in the darkness, ready to die with him. To the sound of Amnerisâ anguished prayers and the chanting of the priests, the lovers prepare to die together.
