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AIDA

Giuseppe Verdi (1813 – 1901)

Giuseppe Verdi in 1872

01 - Giuseppe Verdi

The man

Giuseppe Verdi was not a great traveller. At various periods of his life, he spent some time in Paris, London and called at various German towns on the way but he loved the solitude of his country estate at Busseto. For this reason, he did not attend the production of Aida in Cairo, on 24 December, 1871. The production was magnificent and no expenses were spared for the chorus, costumes and scenery. Aida was given in Milan on 8 February, 1872, and produced at Covent Garden four years later. Wherever given, it was recognised as the Master's finest work. The Italian sculptor of the day, Giulio Monteverde, knew Verdi well and wrote, "[ ] his deep-set eyes had peculiar phosphorescence, looked upon the world and men steadily and calmly, free from all illusions".

The artist

There was hardly any music sheet to be found in Verdi's house. He liked to hear his guests play the piano or occasionally take part in a duet but they had to bring their own music with them. In life, he was the same as he was in art. He was considerate and generous but he would allow no interference in his private affairs from anyone. In the theatre he was respected but not liked as much for he was merciless to his singers. After he became renown, he refused to let any work of his go before the public until it was rehearsed to his satisfaction. The stimulus to compose Aida came from an unexpected source. In November 1869, the Khedive of Egypt planned to open a new theatre. A keen admirer of Verdi, the Khedive invited him to compose an opera for him, at a fee of 16 000 pounds, to inaugurate the new theatre in Cairo.

02 - Aida

Verdi signed a contract to write the new opera for its premiere in Cairo in January 1871. Giulio Ricordi showed his joy and Aida was born. Camille Du Locle, the French librettist, together with the Manager of Paris Opera-Comique and a Verdi's friend, showed the composer what they had in mind for the opera to suit the occasion. On reading the detailed report in April 1870, Verdi agreed to the plan. Preparations for the cast began in autumn, not only for the premiere in Cairo but also for the first performance in Italy just over one month later.

The Franco-Prussian war erupted in the midst of the preparations. Aida was put back to December 1871 in Cairo and to February 1872 in Milan. There were other problems along the way. One of them was the choice of the conductor. In the end, Verdi reluctantly agreed for Giovanni Bottesini to conduct the Cairo premiere. The Milan premiere was to be conducted by Franco Faccio.

For the role of Amneris (sung by a mezzosoprano), Verdi endorsed that it be sung by Eleonora Grossi in Cairo and by the Austrian Maria Waldmann in Milan. For the role of Aida (sung by a soprano), Verdi had only one lady in mind - Teresa Stolz. On 23 September 1871, Teresa Stolz and the other singers paid a visit to Villa Verdi at Sant'Agata to study their parts under the composer's guidance.

Villa Verdi, in the nearby village of Sant'Agata, is the house Verdi built in 1848 while living in Busseto. His parents lived there until 1851 when it became Verdi's home for the rest of his life. He lived there less frequently after the death of his wife, Giuseppina, in 1897.

The plot line

Act I.

In the Royal palace of Memphis, the high priest Ramfis informs Radames, captain of the guards, that Ethiopia is a threat to Egypt. Radames hopes that the Goddess Isis will choose him as leader and guide him to a victory over the Ethiopians. He loves Aida, a slave to the Egyptian King's daughter Amneris, who loves Radames dearly and is very jealous of her Ethiopian slave Aida. Radames is proclaimed Egyptian commander in chief. A messenger brings the news that the Ethiopian King Amonasro, Aida's father, is leading the enemy forces. Before Radames goes on to the battlefield he is invested in the Temple of Vulcan with consacrated weaponry.

Act II.

Radames is successful in battle and while waiting for the hero's return, Amneris tells Aida that Radames was killed. In a desperate reaction, Aida nearly reveals that she is the King of Ethiopia's daughter. On Radames' return, parades and dances celebrate the success of the battle and Radames is crowned victor by Amneris. His captives are lead in and Amonasro in disguise is among them. He warns Aida not to give his identity away and, despite Ramfis and the priests' suggestion to kill the captives, Radames asks freedom for them in return for his heroism in battle. The King agrees and gives the hand of his daughter to Radames as a reward for the victory.

Act III.

Near the banks of the Nile, the priests chant in the temple of Isis as Amneris goes in to pray before her nuptials to Radames. Aida wonders why Radames has asked her to meet him there. Before he arrives, Aida's father confronts her with a demand. She must discover from Radames the Egyptian army's route to the forthcoming battleground. Unaware of Amonasro's presence, Radames arrives and declares to Aida his unabated love for her. Seducingly, she convinces him to run away to Ethiopia and gets from him the secret route his armies will take. Suddenly Amonasro appears and Radames is horrified by his unwilling act of treason. Amneris comes out of the temple, discovers them and proclaims Radames a traitor.

Act IV.

Amneris is alone in a room adjacent to the hall of judgement where Radames' fate will be decided. She sends for Radames and offers to intercede on his behalf and save his life if he swears never to see Aida again. He refuses so Amneris sends him to face judgement. With increasing distress, she overhears the court proceedings. Radames remains silent to the charges of Ramfis and the priests, is condemned as a traitor and sentenced to be buried alive. Radames is sealed in a crypt below the temple of Phtah. He hears a movement and discovers that Aida has concealed herself in the crypt, choosing to die with him. As the lovers are in each other's arms, Amneris, in bitter isolation above the tomb, prays eternal peace for Radames.

The opera

Aida is an opera in 4 acts, based on a libretto by Antonio Ghislanzoni (an Italian writer, impresario and baritone), after a scenario by Camille Du Locle and an original draft by Auguste Mariette, the French Egyptologist at the services of the Khedive of Egypt.

The location - Memphis and Thebes (Egypt)

The time - Sometime during the period of the Pharaohs

The protagonists - Aida (soprano), daughter of Amonasro and a slave of Amneris, Amneris (mezzosoprano) daughter of the King of Egypt, Radames (tenor) Captain of the Egyptian guard, The King of Egypt (bass), Amonasro, (baritone) the King of Ethiopia , Ramfis (bass) the High Priest of Egypt, the High Priestess (soprano), the Messenger (tenor).

Egyptian people, priests, priestesses, captains, soldiers, ministers, slaves, Ethiopian prisoners.

The Cairo's premiere took place on 24 December 1871 in the new Opera House, with the following protagonists:

The King of Egypt - Tommaso Costa

Amneris - Eleonora Grossi

Aida - Antonietta Anastasi-Pozzoni

Amonasro - Francesco Steller

Radames - Pietro Mongini

Ramfis, the High priest of Egypt - Paolo Medini

The High priestess - Marietta Allievi

A Messenger - Luigi Stecchi-Bottardi

Conductor - Giovanni Bottesini

The success of Aida in Cairo was all that could be wished for and earned Verdi the title of 'Commendatore' of the Ottoman Order. Verdi then devoted his attention to the Italian premiere which was scheduled for Milan. He coached all the singers and made sure the orchestra and chorus were up to their best.

The Italian premiere took place on 8 February 1872 in Milan, with the following protagonists:

The King of Egypt - Paride Povoleni

Amneris - Maria Waldmann

Aida - Teresa Stolz

Amonasro - Francesco Pandolfini

Radames - Giuseppe Fancelli

Ramfis, the High priest of Egypt - Ormondo Maini

The High priestess - not named

A Messenger - not named

Conductor - Giuseppe Verdi

La Scala was crammed up to the rafters. The public reaction was very enthusiastic while the critics found the new opera "an odd mixture of old fashion and modern". The opera houses in Italy and all over Europe were very keen to put Aida on their repertoire as soon as possible. Aida's fame spread across the frontier. Apart from the Italian theatres, there was Buenos Aires (4 Oct 1873), New York (26 Nov 1873), Berlin (20 Apr 1874), Vienna (29 Apr 1874), Madrid (12 Dec 1874), Budapest (10 Apr 1875), St Petersburg (1 Dec 1875), Prague (11 Dec 1875), Paris (22 Apr 1876), London (22 June 1876) etc. Aida's fame had established itself. The annual opera festival at the Arena di Verona was inaugurated in 1913 and the opera was Aida, a production which is very successful to this day.

Although some critics associate parts of the music of Aida with Wagnerian reminiscences, the opera' success lies in the originality of the vocal score and the well ordered acts. To give more bite to the action and intensify the personal conflict, Verdi makes recourse to duos and trios more than to the traditional form of solos, that is, a recitative and cantabile. Except for act III, which has continuous flow of drama and 'coups de scene' of the highest order, the other three acts consist of two scenes each with moments of extrovert splendour and dark introspection in splendid equilibrium. In a solid and ample structure, the score includes ballet, choruses and local colour so dear to grand opera devotees without compromising the overall music design.

The plot is classically simple. It is a tale of patriotism and love, the heroine Aida being torn between allegiance to her Ethiopian father Amonasro and love for the Egyptian captain Radames. In the aria 'Celeste Aida', a typical example of Verdi's melodic verve, he is a patriot in the recitative and a lover in the cantabile. The lover expresses himself in terms of purest poetry. Likewise, he and Amneris take part in the battle hymn 'Su! Del Nilo' and no momentum is lost. The final words, 'Ritorna vincitor!' taken up by Aida make a smooth transition to her own solo. The architectural pinnacle of Aida is the 'Triumphal scene'. The final cadenza of the grand chorus begins with 'Gloria all'Egitto' and prepares the scene for the trumpet march, an unforgettable ensemble.

In Act III, Aida's 'O patria mia, mai piu ti rivedrò!' is an aria accompanied by a tapestry of strings, circling flute motifs and a distant chant of the priests. If Aida is the heroine, Amneris is the interesting character. At first she is gracious but from the moment she suspects that Radames is in love with someone else, the rampage of the orchestra begins. The start of Act IV finds Amneris and Radames as characters of a Greek tragedy and the tomb scene has something of an epilogue as it moves from a cold almost numb opening to an idyll through a succession of lyrical ideas. The lovers' farewell to life, 'O terra addio', is a miracle of Verdi's imagination. When does another opera ever finish more magically than with the farewell duet?

Some parts of the opera are more difficult than others from a singer's point of view. When Mirella Freni sang Aida in 1979, Herbert von Karajan asked that Aida be sung 'very soft, very lyrical, not the screaming kind'. Leontyne Price sang her first Aida in 1958 in San Francisco. From an early stage, she sang the role in a way which was not subservient at all. Aida is a slave but also a Royal Princess. Grace Bumbry's first Amneris was in 1972 in Belgrade . Shortly afterwards, she switched from a mezzo to a soprano register and she is one of a few singers who sang both roles, Amneris and Aida. She knows what she talks about when she says, "Most singers don't sing Aida the way it is written.They sing it to fit their voices without paying any attention to the dynamics".

Aida was and still is a staple role for every good soprano like M. Caballe, M. Freni, R. Plowright, K. Ricciarelli, R. Scotto, R. Tebaldi, J. Sutherland, L. Gencer, etc., Amneris that for mezzosopranos, like A. Baltsa, T. Troyanos, B. Fassbaender, D. Zajick, etc.

There have been many famous singers in the history of this opera and to name a few:

As Aida - Stolz, Destinn, Milanov, Nilsson, L. Price, Muzio, Ponselle, Welish and Rethberg.

As Amneris - Homer, Matzenauer, Nikolaidi, Dalis, Elmo, Horne, Castagna, Barbieri and Bumbry.

As Radames - Caruso, Martinelli, Del Monaco, Bergonzi, McCracken, De Marchi, Slezak, Lauri-Volpi and Corelli.

02 - The opera performers

DVD

Aida: Recorded at the Teatro Giuseppe Verdi, Busseto, January 27, 2001.

The King of Egypt - Paolo Pecchioli

Amneris - Kate Aldrich

Aida - Adina Aaron

Amonasro - Giuseppe Garra

Radames - Scott Piper

Ramfis, the High priest of Egypt - Enrico Giuseppe Iori

The High priestess - Micaela Carosi

Messenger - Stefano Pisani

Conductor - Massimiliano Stefanelli

Orchestra: Fondazione Arturo Toscanini

Choir: Fondazione Arturo Toscanini under Carlo Bergonzi

Director and Set Designer: Franco Zeffirelli

03 - Video files   (removed)

1. Act I

Celeste Aida

Radames.......................6:18

(10/10/06) 

2. Act II

Fu la sorte dell'armi a te funesta

Amneris then Aida..........7:23

(18/10/06) 

3. Act II finale

O Re: pei sacri numi

Radames.......................5:40

(26/10/06)

4. Act III (The seduction scene)

Fuggiam gli ardori inospiti

Aida then Radames.........5:03

(3/11/06)

5. Act III

Ma dimmi per qual via

Aida then Radames.........3:26

(11/11/06)

6. Act IV

A lui vivo... la tomba

Amneris........................3:36

(19/11/06)

7. Act IV

O terra addio

Aida then Radames.........4:59

(27/11/06)

8. The making of Aida

Zeffirelli.........................8:22

Note (ed.)

To play back the video clips on your computer

INSTALL THE REAL PLAYER 10 or WINDOWS MEDIA PLAYER 10 or WINAMP

The video clips should be played on the PC by opening them with any of the three players above. A video zoom setting of 1x is highly recommended.

The clips are multi bit rate codec files of the mwv video type. The streaming server determines the end user's connection for speed of delivery. The clip sound is very good, colour and lip sync are good, video sharpness is satisfactory at 1x zoom setting but blurring of the image sets in when viewed at 2x and is worse on a full screen (considering that the clips have been highly compressed to reduce weight and speed up downloading).

04 - Review by members of the panel 

Lynn Samohel

To sing any role in Aida is a monumental task for singers of any age. It is even more difficult for young singers, who lack the experience of different performances, theatres, conductors etc. Here we have a perfect teacher (Bergonzi), an experienced producer and scene designer (Zeffirelli) and the only problem is the very small stage. But the problem is overcome relatively easily. Scott Piper (Radames). A good lyrical voice, that sounds well balanced. It is amazing what he can do with the voice he has. It is a spinto, lighter, but still spinto. Physically, he is a very appealing warrior with beauty of tone and excellent Italian diction. The voice is still developing and he should take things slowly. Overall, his is a very enthusiastic singing. Adina Aaron (Aida). She is a very intense and sensual Aida with intelligent acting. At certain points, she just overpowers Radames but the overall balance is fine. She has a beautiful soprano voice with no fatigue present at the end of a difficult role. Kate Aldrich (Amneris). From a professional point of view, this role appeals to me most. Kate surpasses all expectations. She is a rich, velvety mezzo with a perfectly clear top; she definitely has vocal power and very sound technique. She portrays a very canning Amneris but in the end she shows a compassionate human side. She is an exceptional actress. Giuseppe Garra (Amonasro). The role of Amonasro is sung well, with conviction and a good voice but his acting skills are not at the same level. Overall, a spectacular opera produced in a very tiny theatre. It is an intimate, nice and fresh performance. Carlo Bergonzi deserves lot of accolades for his efforts to coach all the singers involved. Franco Zeffirelli had to work with a young cast and, as always, his ideas are extraordinary, the costumes are wise and nice to look at but a little too heavy.

Andrei Turcu

The singer whom I consider the best in this performance is Kate Aldrich. She is the only fully mature and impeccable artist here. She portrays Amneris as a majestic, intelligent and cold character. I appreciate the acting of soprano Adina Aaron in the title role but I have reservations for her singing. She is not fully prepared for the role. Normally I appreciate a good lirico-spinto tenor in the role of Radames. Scott Piper has some genuine qualities but his voice is more lyrical than spinto. I like his rendition of the famous “Celeste Aida” and his ability to produce the final notes piano; I mean the falsetto at the end of the aria but his acting is somehow shy. In act III, the scene where he discover he gave the location of the Egyptian troops to Aida so easily, he seems like a helpless child crying after he has done a “bad thing”. Where is the pride of the warrior, the anger and the fury? In the seduction scene, he is almost scared of Aida, like a child who is touched by a woman for the first time. It seems to me that he is overwhelmed by the presence of Aida but obviously attracted to her. I feel he should have paid more attention to the heroic part of the character. I must say that I saw a real kiss on the stage for the very first time! Giuseppe Gara is not convincing at all as the cruel king Amonasro. His voice is not suited to the role but the bass Enrico Giuseppe Iori has captured my attention in the role of the great priest Ramfis. It takes great artistry to excel in a minor role. I have nothing but praise for the director Franco Zeffirelli who is able to impart unexpected nuances to the singers. The costumes and stage sets are the best I have ever seen.

Joseph Fragala

Scott Piper is a young American tenore lirico-spinto of handsome appearance. He sings Radames with good acting ability but should work on his vocal technique especially the top register which is limited. As he develops further, he will need to add greater colour to his sound and more shape to long vocal lines. In the opening aria "Celeste Aida" he lacks sense and direction in the succession of reinforcements, smorzature and intermediate intensities of key words. "Ergerti un trono..." is attacked courageously but he turns the squillo "vicino al sol" into a pianissimo. This is acceptable and in accordance with dynamic markings. For any outstanding tenore lirico-spinto, the ending of the Nile scene in act III "Sacerdote, io resto a te" is the acid test. Scott makes a tenuous attempt. He raises the famous puntatura of "io resto a te" and holds the notes within the shortest time in memory! Adina Aaron as Aida is a coloured soprano lirico-drammatico with excellent acting ability, a juicy messa di voce and a very good top. The seduction in the Nile scene of act III is superbly acted. Adina uses her beguiling hands to caress Radames with languid sensuality. Kate Aldrich in the role of Amneris is a ravishing young mezzo singing with a secure voice, beautiful at the top, adequate volume and excellent pronunciation. Her acting singing in the Judgment scene of Act IV is memorable. With a brilliant top, she thunders "La vendetta del ciel scenderà!" in cursing the condemning priests. Enrico Giuseppe Iori has a resounding and solemn voice led by a perfect emission in the role of the High Priest. Giuseppe Garra as Amonasro has a good moment, his interpretation is measured and often brilliant as in “Vieni, vieni. vieni” during the Nile scene. The classic production with period costumes and stage sets is welcomed with open arms and reinforces the general resistance to misplaced, incoherent and ridiculous modern productions even of Aida, the heroine suitably dressed to go shopping at the supermarket! 

Geoff Mallinson

Everything about this review is admirable. The explanatory notes and details of the story have been well scripted and everything is made easy to read and understand. The video clips are extremely well put together. To watch the whole opera in this unique setting is a most enjoyable experience. Scott Piper as Radames has a rather lyric voice, which holds up well in this small theatre and he gives a sympathetic and heartfelt performance.  However, I would be surprised if his voice could carry the role in the larger theatres where a more heroic voice would be required. I was very impressed with the Ramfis of Enrico Giuseppe Iori. Here is a voice of wonderful dark quality which will carry in any theatre. Together with an imposing theatrical presence, this singer should be able to look forward to a very good career.  The same can be said of baritone Giuseppe Garra as Amonasro. An exceptional baritone who sings beautifully, perhaps his youthful tones are not reminiscent of a father but what a sound he makes! The Aida of Adina Aaron took a little time to get going and like Scott Piper, her voice was well suited to Busseto although her 'Aida' might be lost in the bigger theatres.  She is a fine actress and her voice is really quite beautiful. I think it will get bigger as she progresses vocally. Now we come to the Amneris of Kate Aldrich. The girl is a star. What a performer! She has a sumptuous and powerful mezzo voice of which she is in full control. She displays such confidence both vocally and as a most accomplished actress. It is difficult to accept that at the time of this performance she was only 23 years old. This young singer deserves to go right to the very top. To sum up: an excellent performance to rival that of any of the established international stars. Aida is really 'Grand Opera' and in presenting it at Busseto to mark the Centenary of Verdi, the producers faced a huge challenge. The theatre seats only 350 and the stage is extremely small. However, there is the advantage in that it is well suited to protect the voices of young singers. Franco Zeffirelli has risen to the challenge as only he can, in scaling down such a huge work to suit the atmosphere of this theatre. The sets, costumes, and lighting are superb and the orchestra under Massimiliano Stefanelli plays marvellously. In discussing the singers, I can find no real fault. One can only hope that they go on to have successful careers because, in the light of this production, they give a brilliantly polished performance.

Provisional Credit Table (Total marks 20/20)

The total marks for the soloists are based on vocality and acting ability

j    Joseph

l    Lynn

k   Keith

a   Andrei

d   Dragos

m  Mihai

(l.s. and j.f.)

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The Panel
s.f. Salvatore Fisichella

l.s. Lynn Samohel

m.m. Michèle Muller

j.f. Joseph Fragala
g.m. Geoff Mallinson
a.t. Andrei Turcu
k.s. Keith Shilcock
d.t. Dragos Tomescu          m.b. Mihai Bogdan