Giuseppe Verdi's Aida is a tragic opera in four acts, set in the Old Kingdom of Egypt. The Italian libretto was written by Antonio Ghislanzoni. Commissioned by Cairo's Khedivial Opera House, it premiered on December 24, 1871, conducted by Giovanni Bottesini. Today, Aida holds a central place in the operatic canon, with performances worldwide.
Cover of a very early vocal score
The opera is renowned for its grand scale, lush musical moments, and elaborate productions featuring a large chorus, grandiose sets, and dazzling costumes. Aida explores themes of forbidden love and loyalty against the backdrop of war and political intrigue in ancient Egypt.
History and Commission
Isma'il Pasha, the Khedive of Egypt, initially commissioned Verdi to write an opera to celebrate the opening of the Suez Canal, but Verdi declined. However, Auguste Mariette, a French Egyptologist, proposed a plot for a celebratory opera set in ancient Egypt. The Khedive Pasha referred Mariette to theatre manager Camille du Locle, who sent Mariette's story idea to Verdi.
Verdi was offered $20,000 (around $380,000 today adjusted for inflation). He was shown a story that was offered by French Egyptologist Auguste Mariette who also oversaw the set and costume design to ensure historical accuracy.
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Due to the Franco-Prussian War (1870-71), the scenery and costumes were stuck in Paris, delaying the premiere. Verdi's Rigoletto was performed instead.
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.
Premiere and Reception
Aida premiered in Cairo on December 24, 1871, to great acclaim. Verdi had written the role of Aida for Teresa Stolz, who sang it for the first time at the Milan première. Verdi had asked her fiancé, Angelo Mariani, to conduct the Cairo première, but he declined, so Giovanni Bottesini filled the gap. Aida was received with great enthusiasm at its Milan première.
When it opened at Milan’s La Scala the following year, Verdi was called to the stage for 32 curtain calls. A sense of grandness is what has helped the opera endure since the late 19th century. Several productions have included outdoor performances in view of the Great Pyramid of Giza, at the Roman Amphitheatre in Verona, and at the Acropolis in Athens.
Other notable performances include:
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- Rio de Janeiro: June 30, 1886, Theatro D. Pedro II, conducted by Arturo Toscanini.
- New York City: A complete concert version in 1949, conducted by Toscanini with Herva Nelli as Aida and Richard Tucker as Radamès, televised on NBC.
- La Scala: A lavish new production in 2006/2007 designed by Franco Zeffirelli, starring Violeta Urmana and Roberto Alagna.
The opera has been adapted for film a few times including a 1957 production starring Sophia Loren as Aida, with famous soprano Renata Tebaldi providing the singing.
Synopsis
The story centers on the love triangle between Amneris the Princess of Egypt, her female slave (and secret Ethiopian princess) Aida, and Radamès, the handsome captain of the guards whom both women love. Unknown to them, Aida and Radamès are in love with each other, while Amneris also loves the captain - who doesn’t love her back. Over the course of the opera, Radamès goes from hero to traitor when he learns Aida’s true-identity.
The opera is set in ancient Egypt during the reign of the pharaohs. The high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army, believing that victory would enable him to marry Aida, an enslaved Ethiopian woman he loves. However, Princess Amneris also loves Radamès and senses his feelings for Aida.
The king names Radamès to lead the army. Aida is torn between her love for Radamès and loyalty to her country, where her father, Amonasro, is king. In the temple, the priests consecrate Radamès, and Ramfis orders him to protect the homeland.
Ethiopia has been defeated, and Amneris awaits Radamès’s return. When Aida approaches, Amneris attempts to learn her feelings, confirming Aida’s love for Radamès. Amneris leaves for the triumphal procession, certain she will be victorious.
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The king and Amneris crown Radamès with a victor’s wreath. Captured Ethiopians are led in, including Amonasro, who signals his daughter not to reveal his identity. Radamès asks for the prisoners to be freed. The king grants his request but keeps Amonasro in custody and declares that Radamès will marry Amneris.
On the eve of the wedding, Ramfis and Amneris enter a temple on the banks of the Nile to pray. Aida waits for Radamès, lost in thoughts of her homeland. Amonasro appears and coerces Aida to find out the Egyptian army’s plans from Radamès. Amonasro hides as Radamès arrives and assures Aida of his love.
Aida asks him about his army’s plans, and just as he reveals the secret, Amonasro emerges. Radamès is horrified by what he has done. Ramfis and Amneris step out of the temple. Amonasro and Aida escape, but Radamès surrenders.
Radamès awaits trial. Amneris offers to save him if he renounces Aida, but he refuses and is condemned to be buried alive. Amneris begs for mercy, but the judges are unwavering.
Aida has hidden in the vault to share Radamès’s fate.
Detailed Act-by-Act Synopsis
Act I
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.
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. Amneris, the daughter of the Egyptian King, enters the hall. Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed.
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.
Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: "Possente Ptah ... 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 Ptah.. Mortal, diletto ai Numi" / O mighty one, guard and protect!).
Act II
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. 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. 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! 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? .. 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!).
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.
Act III
Outside, Aida waits to meet with Radamès as they had planned (Aida: "Qui Radamès verra .. 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).
Radamès affirms that he will marry Aida ("Pur ti riveggo, mia dolce Aida .. Nel fiero anelito"; "Fuggiam gli ardori inospiti .. To facilitate their escape, Radamès suggests using a secure route free from the risk of discovery and discloses the location his army plans to attack. Upon hearing this, Amonasro emerges from hiding and reveals his true identity. Radamès, horrified, realises he has inadvertently divulged a critical military secret to the enemy.
Meanwhile, Amneris and Ramfis leave the temple, spot Radamès in conference with the enemy, and summon the imperial guards. Amonasro, armed with a dagger, intends to kill Amneris and Ramfis before they can alert the guards, but Radamès disarms him.
Act IV
Scene 1: A hall in the Temple of Justice. Amneris wishes to save Radamès ("L'aborrita rivale a me sfuggia" / My hated rival has escaped me). She asks Radamès to deny the accusations, but Radamès, who does not wish to live without Aida, refuses.
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 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, è deciso il tuo fato" / Alas .. I feel death ..
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: "La fatal pietra sovra me si chiuse" / The fatal stone now closes over me). They accept their terrible fate (Radamès: "Morir! Sì pura e bella" / To die! So pure and lovely!) and bid farewell to Earth and its sorrows (duet "Invan! Tutto è finito ... O terra addio").
Above the vault in the temple of Ptah, 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 Ptah.
A scene from Act IV of Verdi's "Aida" with Judit Kutasi as Amneris
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. The opera has been portrayed in the 2001 Italian animated film Aida of the Trees (Aida degli alberi).
Notable Productions
Lyric Opera of Chicago has included Aida in its repertoire. For the first time in more than a decade, Aida’s timeless tale of duty versus desire is on spectacular display at Lyric Opera of Chicago. The photo exhibit concrete, rose. by acclaimed Chicago photographer Patric McCoy has been extended by popular demand. Audio description, a guided touch tour of the set, and SoundShirts are available at the March 17 matinee performance.
Aida reunites the accomplished Verdian singers Michelle Bradley and Russell Thomas, who recently triumphed as another of opera’s doomed couples in Puccini’s Tosca in Lyric’s 2021/22 Season, in the roles of Aida and Radamès. Bradley has performed the role of Aida across the globe, including at the Metropolitan Opera. Following a familiar path of great Verdi sopranos, Bradley first performed the role of the Priestess in Aida at the Met in 2017 before taking on the title role there in 2022. Thomas has been a Lyric favorite since his debut in the 2016/17 Season as Pollione in Bellini’s Norma, and adds the role of Radamès to his Verdi repertoire at Lyric, which includes spellbinding performances as Manrico in Il trovatore in the 2018/19 Season and in the title role in Ernani in the 2022/23 Season.
The third side of Aida’s love triangle is Jamie Barton as Amneris, her seventh role at Lyric and her first since her mesmerizing portrayal of Azucena (opposite Thomas) in Verdi’s Il trovatore in the 2018/19 Season.
Known for her visual acumen, focused character work, and compelling storytelling, Zambello has directed the recent Lyric productions of West Side Story in the 2018/2019 and 2022/23 Seasons and Florencia en el Amazonas in the 2021/22 Season. She also previously teamed with Mazzola for Verdi’s Luisa Miller in the 2019/20 Season.
The production’s striking original concept design is by artistic designer RETNA, a celebrated street artist based in Los Angeles whose work uses calligraphy, hieroglyphics, and bold colors to evoke a mythic past with a contemporary edge.
Acclaimed choreographer Jessica Lang, in her Lyric debut, brings her unique contemporary dance sensibility to Aida, creating stunning choreography for some of the opera's most spectacular scenes.
This Met production includes soprano Angel Blue as Aida; Piotr Beczala as Radamѐs; Judit Kutasi as Amneris; Quinn Kelsey as Amonasro; Morris Robinson as Ramfis; and Harold Wilson as the King of Egypt.
Themes
At its heart, Aida is about forbidden love. Verdi’s Aida is an epic work, an emotionally-charged tragedy of forbidden love between Aida, an Ethiopian princess enslaved in Egypt, and Radamѐs, an Egyptian military captain.
Forbidden love in a time of war. Aida, a young enslaved woman, harbors secret feelings for the military hero Radamès, who has conquered her people. Unbeknownst to her captors, she is also a princess and the daughter of their sworn enemy, Amanasro. As the occupying King’s own daughter Amneris desperately seeks the affections of Radamès for herself, Aida must make an impossible choice.
The setting is ancient Egypt. Egyptians have captured and enslaved Ethiopians, including the Ethiopian princess Aida and her father, Amonasro, King of Ethiopia. The leader of the Egyptian army, Radamѐs and Aida have secretly fallen in love, but must keep their love hidden due to their divided national loyalties and the ongoing conflict between their nations. Radamѐs secretly expresses his love with the famous aria, “Celeste Aida” (Heavenly Aida). Princess Amneris of Egypt is in love with Radamѐs views Aida as a rival for his love. Princess Amneris, suspicious and jealous of the growing love between Aida and Radamѐs, tells Aida falsely that Radamѐs has been killed, a trick to force Aida to confess her love for Radamѐs. Furious, Amneris vows revenge against the lovers.
Alone at night, Aida sings “O, patria mia” (O, my dear country), sadly reflecting on her Ethiopian homeland that she will never see again. She waits to meet Radamѐs but her father, Amonasro, appears instead. He reminds Aida of her patriotic duty; he forces her to betray Radamѐs by obtaining information from him about the Egyptian army, which Amonasro intends to use against his Egyptian rivals. Radamѐs appears, promising to marry Aida. They decide to escape to the desert.
Radamѐs, now separated from Aida, is brought to trial on charges of treason. Amneris, still deeply in love with Radamѐs, urges him to deny the charges but Radamѐs refuses; he would rather die than live without Aida. The court condemns Radamѐs to death. Amneris begs the judges to spare his life, to no avail. Radamѐs is buried alive in a tomb but is soon joined by Aida so that they may be united in death.
