Aida is one of Giuseppe Verdi’s most celebrated operas, first performed on December 24, 1871, in Cairo, Egypt. Commissioned by the Khedive of Egypt to celebrate the opening of the Suez Canal (though it was delayed and premiered after the canal’s opening), Aida combines grandeur with deeply personal drama, making it a staple of the operatic repertoire.
Plot Summary
Aida is a four-act opera set in ancient Egypt and revolves around themes of love, loyalty, and betrayal.
Main Characters:
- Aida (soprano): An Ethiopian princess enslaved in Egypt.
- Radamès (tenor): An Egyptian military commander in love with Aida.
- Amneris (mezzo-soprano): The Egyptian princess and Aida’s rival in love.
- Amonasro (baritone): Aida’s father and the King of Ethiopia.
- Ramfis (bass): The high priest of Egypt.
- The King of Egypt (bass): Amneris’s father.
Story Outline:
- Act I: Radamès is chosen to lead the Egyptian army against Ethiopia. He secretly loves Aida, though Amneris also desires him. Aida is torn between her love for Radamès and loyalty to her father and country.
- Act II: Egypt celebrates its victory. Amneris tricks Aida into confessing her love for Radamès. Meanwhile, the triumphant Radamès returns with Amonasro, disguised as an ordinary soldier, among the captives.
- Act III: Aida meets Radamès secretly. Amonasro overhears their conversation and pressures Aida to extract military secrets from Radamès. Radamès inadvertently reveals his army’s plans and is later accused of treason.
- Act IV: Radamès is sentenced to death by being buried alive. Aida sneaks into the tomb to die with him, and the opera ends with their poignant farewell.
Famous Music:
- “Celeste Aida”: Radamès’s aria expressing his love for Aida.
- “Ritorna vincitor”: Aida’s conflicted aria as she prays for Radamès’s victory while lamenting her divided loyalties.
- The Triumphal March: A grand orchestral and choral piece celebrating Egypt’s victory.
Production Notes:
Aida is known for its spectacular staging, with opportunities for elaborate sets, costumes, and large choruses, particularly in the Triumphal Scene of Act II. The opera also balances moments of intimate emotional drama with grand, ceremonial spectacle.
Key Arias from Aida
Aida by Verdi contains several key arias and musical moments that are central to the opera’s emotional and dramatic power. Here are the most notable ones:
Arias for Aida (soprano):
- “Ritorna vincitor!” (Act I)
- Context: Aida is torn between her love for Radamès and her loyalty to her homeland, Ethiopia. She prays for his victory in battle but is consumed by guilt because it means the defeat of her people.
- Mood: Deeply conflicted and emotional, showcasing her inner turmoil.
- “O patria mia” (Act III)
- Context: Aida laments her lost homeland as she awaits Radamès by the banks of the Nile.
- Mood: Lyrical and melancholic, expressing her yearning for her home and her despair over her fate.
Arias for Radamès (tenor):
- “Celeste Aida” (Act I)
- Context: Radamès dreams of victory in battle and envisions presenting his triumph to Aida, whom he loves.
- Mood: Romantic and noble, demanding both lyrical beauty and heroic strength.
- “La fatal pietra” (Act IV)
- Context: Radamès is sentenced to death by entombment. As he awaits his fate, he mourns his separation from Aida, only to discover she has joined him in the tomb.
- Mood: Heartbreaking and tender, culminating in a poignant duet.
Arias for Amneris (mezzo-soprano):
- “L’abborrita rivale a me sfuggia” (Act IV)
- Context: Amneris pleads for Radamès’s life after he is sentenced to death but ultimately laments her failure and curses the priests who condemned him.
- Mood: Passionate and dramatic, showcasing Amneris’s anguish and unrequited love.
Arias for Amonasro (baritone):
- “Ma tu, o re” (Act II)
- Context: Amonasro confronts the Egyptian king, disguised as a captive, and appeals for mercy while secretly plotting his revenge.
- Mood: Commanding and filled with cunning, demonstrating Amonasro’s strong-willed and strategic nature.
Other Highlights:
- The Triumphal March (Act II): While not an aria, this orchestral and choral piece is one of the most famous moments in the opera, celebrated for its grandeur.
- The Nile Scene Duet (Act III): Aida and Radamès express their love and anguish in one of the opera’s most dramatic and intimate duets.
Each aria is a masterpiece of character development and emotional depth.
Which are the key interpreters of Aida in the past and nowadays?
The role of Aida has been interpreted by many legendary sopranos, and the other principal roles—Radamès, Amneris, and Amonasro—have also attracted iconic performers. Here’s a look at some of the key interpreters, both historical and contemporary:
Aida (Soprano):
Past Greats:
- Maria Callas
- Renowned for her dramatic intensity and unique vocal timbre. While she didn’t sing Aida frequently, her interpretations in the mid-20th century left an indelible mark.
- Leontyne Price
- Considered one of the definitive Aidas of the 20th century. Her rich, soaring voice and emotional depth made her portrayal iconic.
- Renata Tebaldi
- Known for her pure, lyric voice, Tebaldi brought elegance and power to the role.
- Montserrat Caballé
- Famed for her pianissimo and vocal control, her Aida interpretations were more lyrical and less dramatic.
- Zinka Milanov
- A regular Aida at the Metropolitan Opera in the mid-20th century, admired for her large and expressive voice.
Contemporary Interpreters:
- Anna Netrebko
- Celebrated for her rich voice and dramatic stage presence, she has recently taken on Aida with much acclaim.
- Sondra Radvanovsky
- Known for her vocal stamina and ability to balance lyrical beauty with dramatic power.
- Angela Meade
- Praised for her pristine technique and control, she brings elegance to the role.
- Liudmyla Monastyrska
- Often cast in this role for her powerful, resonant voice and commanding presence.
Radamès (Tenor):
Past Greats:
- Enrico Caruso
- One of the earliest and most influential tenors to interpret Radamès, his voice set a standard for the role.
- Franco Corelli
- Known for his heroic voice and passionate stage presence, Corelli’s Radamès is legendary.
- Jon Vickers
- Praised for his intense and dramatic interpretation.
- Carlo Bergonzi
- A more lyrical Radamès, admired for his refined technique and phrasing.
Contemporary Interpreters:
- Jonas Kaufmann
- A modern favorite, his nuanced interpretations and darker tenor voice bring depth to Radamès.
- Roberto Alagna
- Known for his warmth and expressiveness, he is a popular Radamès in contemporary productions.
- Yusif Eyvazov
- Frequently cast in the role alongside Anna Netrebko, his strong voice is well-suited to the part.
Amneris (Mezzo-Soprano):
Past Greats:
- Giulietta Simionato
- A master of dramatic roles, her Amneris was fiery and commanding.
- Fedora Barbieri
- Her powerful voice made her one of the great Amneris interpreters of her era.
- Fiorenza Cossotto
- Known for her dramatic intensity and vocal power.
Contemporary Interpreters:
- Anita Rachvelishvili
- A standout Amneris in the current era, praised for her rich mezzo voice and emotional depth.
- Elīna Garanča
- Known for her polished and elegant interpretations.
- Jamie Barton
- A rising star in the role, she brings emotional complexity and vocal power.
Amonasro (Baritone):
Past Greats:
- Tito Gobbi
- Renowned for his dramatic skill and nuanced portrayals.
- Ettore Bastianini
- A charismatic and vocally robust Amonasro.
- Leonard Warren
- Admired for his expressive and commanding performances.
Contemporary Interpreters:
- Ludovic Tézier
- Celebrated for his rich tone and dramatic ability.
- Carlos Álvarez
- Known for his intensity and powerful baritone voice.
Conductor Legends:
The interpretation of Aida also relies heavily on the conductor. Past greats like Arturo Toscanini, Herbert von Karajan, and Riccardo Muti have shaped iconic recordings. Contemporary conductors like Antonio Pappano and Riccardo Chailly continue to bring fresh insights to the score.
Which are the best versions of Aida in CD?
Choosing the “best” version of Aida on CD depends on your personal preferences—whether you prioritize vocal performance, dramatic intensity, or sound quality. Below are some of the most acclaimed recordings, each with unique merits:
Classic Recordings
- Leontyne Price / Jon Vickers / Giulietta Simionato (1961, RCA Victor)
- Conductor: Sir Georg Solti
- Why It’s Great: Leontyne Price’s Aida is legendary for its vocal beauty and emotional depth. Jon Vickers delivers a powerful Radamès, and Giulietta Simionato is a commanding Amneris. Solti brings dramatic energy to the score.
- Sound Quality: Excellent for its time; a definitive interpretation for many listeners.
- Renata Tebaldi / Carlo Bergonzi / Giulietta Simionato (1959, Decca)
- Conductor: Herbert von Karajan
- Why It’s Great: Tebaldi’s radiant Aida and Bergonzi’s lyrical Radamès create an elegant pairing. Simionato’s Amneris is superb, and Karajan’s conducting is rich and detailed.
- Sound Quality: Outstanding studio recording for its era.
- Maria Callas / Richard Tucker / Fedora Barbieri (1955, Live, Mexico City)
- Conductor: Oliviero de Fabritiis
- Why It’s Great: Callas only sang Aida live, and this recording captures her dramatic intensity and unique timbre. Richard Tucker is a vibrant Radamès, and Barbieri’s Amneris is fiery.
- Sound Quality: Live recording with some imperfections, but the emotional intensity is unmatched.
- Zinka Milanov / Jussi Björling / Fedora Barbieri (1955, RCA Victor)
- Conductor: Jonel Perlea
- Why It’s Great: Milanov’s Aida is majestic, and Björling’s Radamès is one of the most beautifully sung on record. A classic interpretation with strong ensemble work.
- Sound Quality: Excellent mid-20th-century studio sound.
Modern Recordings
- Montserrat Caballé / Placido Domingo / Fiorenza Cossotto (1974, EMI)
- Conductor: Riccardo Muti
- Why It’s Great: Caballé’s ethereal Aida is complemented by Domingo’s passionate Radamès. Cossotto’s Amneris is one of the most dramatic on record, and Muti’s conducting balances grandeur with sensitivity.
- Sound Quality: Superb studio recording with vibrant sound.
- Leontyne Price / Carlo Bergonzi / Grace Bumbry (1962, RCA Victor)
- Conductor: Thomas Schippers
- Why It’s Great: Price’s studio Aida, paired with Bergonzi’s refined Radamès and Bumbry’s regal Amneris, makes for an unforgettable experience.
- Sound Quality: Crystal clear and beautifully engineered.
- Anna Netrebko / Francesco Meli / Anita Rachvelishvili (2018, Deutsche Grammophon)
- Conductor: Riccardo Chailly
- Why It’s Great: A modern take with Netrebko’s lush Aida and Rachvelishvili’s commanding Amneris. Chailly’s conducting emphasizes clarity and nuance.
- Sound Quality: State-of-the-art digital recording.
Budget-Friendly Recommendation
- Tebaldi / Bergonzi / Simionato (1959, Decca)
Often reissued at a lower price, this recording remains one of the most celebrated versions of Aida.
Live Performance Enthusiasts
- Maria Callas (1955, Live, Mexico City)
For those who value the raw energy of live opera, this is an unforgettable recording. - Leontyne Price / Jon Vickers (1961, RCA)
A studio recording that captures the essence of grand opera.
How many representations of Aida occur every year?
Determining the exact number of performances of Giuseppe Verdi’s Aida worldwide each year is challenging due to the decentralized nature of opera productions. However, Aida remains one of the most frequently performed operas globally, with numerous productions staged annually.
For instance, the Metropolitan Opera in New York has presented Aida over 1,100 times since its debut there in 1886.
In the 2022–2023 season alone, the Met scheduled 15 performances of Aida.
Other major opera houses, such as the Arena di Verona in Italy, regularly include Aida in their seasons, often with multiple performances.
Given its enduring popularity, it’s reasonable to estimate that Aida is performed hundreds of times annually across various venues worldwide.
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