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The opera Aida was created by Verdi and consists of four acts, based on the Italian libretto by Antonio Ghislanzoni. It was written on the basis of a French prose version created by Camille du Locle, who, in turn, took the plot of Francois Mariette as the basis for his work. The work was enriched with the composer's own inclusions in the form of prose and poetic variations.
For the first time, lovers of classical music and opera could listen to this work in Cairo at the very end of 1871. And it is worth noting that for this musical masterpiece the author of the opera was fully rewarded: he not only received a fee of 30 thousand dollars, which by modern standards is about 200 thousand. Verdi signed a contract with the Egyptian government, which included the need to create the opera in a new Cairo theater. All this was connected with the opening of the Suez Canal. And at that time absolutely nothing had been written for the opera. As a result of the transaction, the author provided the buyers with only a copy of the score, as well as the exclusive right to stage the work in Egypt and only in Cairo. Verdi retained not only the rights to receive royalties for productions, but even for publishing the score and libretto. It is noteworthy that Verdi had to be persuaded to sit down to write the opera. And with the reward he received, he did the following: he paid the creator of the libretto well, and also transferred a significant amount to those who suffered during the siege of Paris.
Verdi's work was tedious and intense. The plot was based on a 4-page manuscript by Egyptologist Marietta Bee. And on this basis, Verdi and his friend du Locle created a libretto for an opera in 4 acts. Then there was work with the Italian poet Ghislanzoni, who was asked to write a libretto in Italian. Verdi actively worked on the plot, and even wrote poetry. By the way, he wrote the music in just 4 months.
The premiere of the opera was received triumphantly, including by representatives of high society from all over the world. However, Verdi was not present at the premiere in Cairo, which he corrected at the Italian premiere, which took place in Milan a month and a half after the Egyptian triumph. The success of the Italian stage was no less enchanting. Today it is also triumphantly received by any opera company around the world.
Two cities were chosen as the main setting for the brilliant musical masterpiece: Memphis and Thebes.
The summary of the work can easily be revealed in the obvious confrontation between good and evil, love and hatred, passions and hopes, fate and fate. It is the initially conflicting situation that sounds in the orchestral introduction, where the opposition is indicated, the personification of which on the positive side is Aida, and on the evil side she is embodied in the images of the priests.
If we consider the style of the work, then it, like grand French opera, is characterized by such characteristics as scale, entertainment, the participation of ballet troupes and ensembles, mass choral scenes, etc.
Along with the above-mentioned elements, the features of a lyrical-psychological drama can be traced, where a love triangle gives rise to conflicts and aggravates internal contradictions. The ideological content of the work is no less complex than the dramaturgy, which is dominated by emphasized conflict, both between enemies and lovers.
In the first scene of the first act, not only all the central characters of the work are introduced, but the beginning of a love relationship is traced. The first ensemble scene is called the trio of jealousy, where the anxious emotions of Aida and Radames are heard, as well as the anger of Amneris. It is jealousy that becomes the main theme of this picture, and Aida’s monologue is the culmination of the struggle of the most contradictory feelings in her soul: confusion, feelings for her father, love for Radames, sadness, desire for death. The monologue is accompanied by extensive scenes where Egypt is glorified and Radames is dedicated. It is here that the exotic nature of the plot, filled with oriental flavor, becomes obvious.
The plot of the second act reflects an increase in contrast: the antithesis of the rivals, the aggravation of the conflict of the main characters, new faces appear: Amonarso, the Ethiopian captives he represents, and Amneris, as a pharaoh and representative of the Egyptians.
A summary of the third act is inseparable from understanding the radical transition of the dramaturgy of the work into the area of human relationships. Rave reviews of the opera are sure to note two performing duets, in which Amonarso and Radamès are Aida’s partners. Their fundamental differences can be traced in expressive and compositional solutions. However, they are integral components of a single line of gradually increasing dramatic tension. It was this action that became the owner of the plot “explosion”, based on the accidental betrayal of Radames and the unexpected appearance of Amneris, Ramfis and the priests.
The climax is visible in the fourth act. At the beginning, the aria of Amneris and Radamès from the opera Aida is impressive, and at the end, the prayer of the great priestess performing the ritual funeral leaves a special impression. It is worth noting that the fourth act is special, having two climaxes expressed in the court scenes and the farewell duet of Aida and Radames. The duet personifies the “quiet” culmination of the opera, which, in contrast to grandeur, triumph, tension, becomes an affirming finale in which love reigns and the feat performed in its name.
If you want to hear the most famous arias from the opera Aida, written by Verdi, you can hear them for free online on the Orpheus club website. Here you can also find videos of most existing productions.
Opera in four acts
Libretto by Antonio Ghislanzoni
Characters
King of Egypt (bass)
Amneris, his daughter (mezzo-soprano)
Aida, slave, Ethiopian princess (soprano)
Radames, Chief of the Palace Guard (tenor)
Ramfis, High Priest (bass)
Amonasro, king of the Ethiopians, father of Aida (baritone)
Messenger (tenor)
Priests, priestesses, ministers, military leaders, soldiers, dignitaries, slaves and captive Ethiopians, Egyptian people.
The action takes place in Memphis and Thebes during the time of the power of the pharaohs.
Act one scene one
(A hall in the royal palace in Memphis. To the right and left are colonnades with statues and flowering plants. In the back is a large arch; through it you can see the temples and palaces of Memphis, as well as the pyramids. Radames and Ramfis are talking with each other.)
Yes, rumor has spread that the Ethiopian is arrogant
so bold that the Nile Valley
and Thebes began to be threatened.
I prayed to Isis all day.
And what did the goddess say to the priest?
She showed us who Egypt is
must be the main commander.
Happy chosen one!
(looking meaningfully at Radamès)
He is young, but full of valor.
I will convey the decision of the gods to the king.
(Leaves.)
Oh, if only I were chosen...
And my prophetic dream would come true!
(enthusiastically)
I would lead the Egyptian regiments into battle against the enemies...
And here is the victory... Memphis applauds in delight!
I will return to you, Aida, wearing a laurel wreath of glory,
I say: “Only for you I achieved victory!”
Dear Aida, the sun shines,
marvelous flower of the Nile Valley.
You are the joy of the heart, you are the hope,
my queen, you are my life!
Soon you will see blue skies,
you will be in your homeland again.
You will return to your native land again,
I will return freedom to you! Oh!
Dear Aida, the sun shines,
Nile Valley lotus alive.
Your image is full of charm,
Your fiery gaze is brighter than a star.
You will soon see your native mountains,
you will see your country again.
You will forget the chains of shame,
I’ll bring back my dear freedom again.
I will return freedom again!
(Amneris enters the hall.)
Your gaze lights up with unusual joy,
your eyes, like lightning, sparkle with fire!
I have the right to envy that beautiful maiden,
where you are your dreams and heart
ready to give, obeying love!
I had a strange dream -
this is the reason for the delight.
Now the goddess will show us that leader,
who will lead the brave Egyptians to glory.
Oh, that I were worthy of this honor!
Didn't you have a different dream?
The dream is sweeter, and more tender, and dear to the heart -
Isn’t it really in Memphis that all your desires and hopes are?
(About myself)
How! What do I hear?
He suspects a secret, my love has revealed it!
(About myself)
I know... It's a different feeling
owns his soul and heart!
(About myself)
The secret that I hide
she wants to know.
(About myself)
I will take revenge if the secret
he is hiding from me.
There will be no mercy, no forgiveness!
(Aida enters.)
(seeing Aida)
(to himself; watching)
He was embarrassed... they looked at each other so strangely.
Aida! Isn't she my rival?
(to Aida)
Oh come to me my friend
The name of the slave does not suit you.
You will become my dear friend,
you will be my sister.
Are you crying? The cause of grief, the cause of sadness
tell me, my friend.
(lowering his eyes to hide his excitement)
Alas, everything breathes malice:
the war threatens disaster.
I cry for my country,
I’m scared for myself, for you!
Tell me the truth.
Is there any other reason for your tears?
(to himself; looking at Aida)
Woe to the criminal slave!
(to himself; looking at Aida)
The eyes flashed with anger...
(About myself)
Oh, woe to the criminal slave!
(About myself)
She's watching us.
(About myself)
I will find out the secret of the heart!
(About myself)
If she knows love
what are we hiding?
she will take revenge on us,
will take revenge on her.
He's watching us!
Oh woe if ours
she discovered love!
She's ready to take revenge!
The face flashed with anger -
she is ready to take revenge!
Eyes blazing with anger -
she is ready to take revenge!
(to Aida)
Why are you shedding tears?
(About myself)
There is no faith in her words.
Slave to criminal grief!
I will take revenge!
I recognize your sadness
and I will take terrible revenge!
(About myself)
Oh no! The heart suffers not for its native land,
not for the fatherland.
I shed tears, I cry bitterly,
I cry for my love.
I cry, I suffer for my love.
(The King enters, preceded by the guard, accompanied by Ramfis, priests, military leaders and courtiers.)
For important matters, Egyptians,
I told you to come here.
From the borders of Ethiopia
a messenger came here to us,
he brought terrible news.
We were attacked...
(to one of the dignitaries)
Let the messenger in here!
(The Messenger enters.)
The Egyptians are threatened by the troops of the king of the barbarian Ethiopians.
All our fields are like a desert...
The fields are burning.
Proud of his easy victory,
the villains boldly rushed to Thebes.
What audacity!
Bloodthirsty, cruel their ruler
Amonasro leads them into battle!
RADAMES, KING, RAMFIS, PRIESTS, MINISTERS AND MILITARY LEADERS
The king himself!
(About myself)
My father!
Thebes rebelled; all citizens with weapons
go towards enemies,
they threaten war, they threaten evildoers with death.
For the enemies of the fatherland there is only death and vengeance!
RADAMES, KING, RAMFIS, PRIESTS, MINISTERS AND MILITARY LEADERS
Vengeance! Vengeance! Vengeance on the enemies!
Death, death without mercy!
(approaching Radames)
The goddess, sacred Isis, called us,
the one who leads the troops into battle:
AIDA, AMNERIS, MINISTERS AND MILITARY LEADERS
Ah, praise be to you, gods!
My dreams have come true!
(About myself)
He is chosen! He is chosen!
(About myself)
I'm shaking all over, I'm shaking all over!
MINISTERS AND MILITARY LEADERS
Radames! Radames!
Our commander is brave, in the temple of Isis
accept the sacred sword,
lead your troops to victory!
To the banks of the sacred Nile
the gods will show us the way,
Gods will increase our strength!
Death without mercy, death to all enemies!
The gods send you blessings
a dangerous long journey.
Send prayers to them,
so that they give you victory.
MINISTERS AND MILITARY LEADERS
The bank of our sacred Nile
we will protect with our breasts,
the gods will increase our strength;
To the gods of prayer, you send prayers,
Send prayers so that victory will be given to you.
Yes, to the banks of the sacred Nile
the gods will show us the way,
and they will increase our strength;
death to enemies without mercy!
(About myself)
Why am I crying bitterly and suffering?
Ah, love has ruined me.
The heart is full of thirst for vengeance:
the groans of the people are heard everywhere,
he calls for victory!
Vengeance, vengeance and death to all enemies!
(passing the banner to Radames)
Glory awaits you, chosen one!
Here, accept the holy banner -
let him lead and illuminate
the path to victory over the enemy.
To the banks of the sacred Nile
the gods will show us the way.
There will be a cry of victory,
death without mercy and destruction to all enemies.
RAMFIS AND THE PRIESTS
The gods send blessings
a dangerous long journey.
Send prayers to them,
so that they give us victory.
MINISTERS AND MILITARY LEADERS
The bank of our sacred Nile
We will protect with our breasts.
The gods will increase our strength.
Vengeance, vengeance and death to all enemies!
THE MESSENGER AND RADAMES
Victory over enemies awaits,
death and destruction, destruction to the enemies!
May he lead you to victory over the enemy!
Oh, why am I crying so bitterly?
RADAMES, AMNERIS, KING, RAMFIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Vengeance! Vengeance!
Doom and death to the enemies!
I gave my heart to a stranger and enemy.
AIDA, AMNERIS, KING, RAMPHIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Return to us victorious!
(Everyone leaves except Aida.)
Return to us victorious!
This word is criminal in my mouth!
Victory over my father!
The father raised his weapon at them,
to return my homeland to me,
my kingdom, proud name,
What am I supposed to hide here?
Radames will destroy his father...
And I will see him on his chariot,
stained with blood.
All Egypt rejoices!
The king himself is behind the chariot,
my father, in iron shackles!
Crazy word, oh gods, forgive me!
You will return your daughter to your father's heart!
O gods, I pray you, scatter
and turn all enemies to dust!
Oh, what did she say, oh gods!
Love forgot... Yes, I forgot love
and I dream of revenge!
Love illuminated my heart like the sun -
It's all bliss!
And I ask for the death of Radames,
loving him madly!
Yes, I love him
and I suffer so terribly for love!
And I don't dare openly, freely
name names dear to me in front of everyone.
Father and darling! I'm trembling for both...
I just have to shed tears and pray to the gods...
But the gods themselves cannot help me -
because I love the enemy of my country.
There is no forgiveness for me and no consolation,
It's easier to die than to suffer like this.
My gods! Have mercy, I pray
my heart is full of torment,
my gods, I pray to you:
I can’t live, send me death!
My gods, I pray to you, I pray,
take pity on my bitter fate:
Send me death, my gods,
I beg you, I beg you!
With a libretto (in Italian) by Antonio Ghislanzoni, based on the French prose version by Camille du Locle, who in turn borrowed the plot from François Auguste Ferdinand Mariette, with the composer's own insertions into both the prose and verse versions.
Characters:
KING OF EGYPT (bass)
AMNERIS, his daughter (mezzo-soprano)
AMONASRO, King of Ethiopia (baritone)
AIDA, his daughter and slave Amneris (soprano)
RADAMES, Chief of the Palace Guard (tenor)
RAMFIS, High Priest (bass)
MESSENGER (tenor)
Time period: the era of the reign of the pharaohs.
Location: Memphis and Thebes.
First performance: Cairo, December 24, 1871.
I would like to begin the story about this great masterpiece of operatic art with a brief discussion about money and do this in order to demonstrate that serious composers are by no means always poor, constantly struggling with adversity, and not appreciated by society. Not at all. Sometimes, on the contrary, they are royally rewarded for their work. It is known that for “Aida” Verdi asked for - and received without any bidding - a fee of $30,000. The contract was signed when the composer had not yet written a single note. And all that the buyer received for his 150,000 francs was only one copy of the score and the right to be the first to stage the opera in Egypt in Cairo - and only in Cairo. Verdi retained all other rights, and these included royalties to him for each performance anywhere in the world and the publication of the score and libretto. When you remember that in Europe in 1870, $30,000 was equivalent to about $200,000 today, and that there were no taxes, you can imagine that the Khedive of Egypt who paid this amount was betting heavily on a musical genius. I don't mean that Verdi was a grabber. Money was by no means his first priority. He was strongly persuaded to take on the opera at all, but when he began work on Aida, he generously paid his librettist, and also gave part of the advance to the victims of the siege of Paris. He worked very hard and hard. As a historical outline, Verdi took only a four-page outline of the plot, written by the Egyptologist Mariette Bee, and, together with his French friend Camille du Locle, developed it into a libretto for a four-act opera. Then he invited the Italian poet Ghislanzoni to rework it into an Italian libretto, and Verdi himself gave extremely detailed instructions regarding plot twists and even wrote some of the poetic lines himself. As for the music, it was written in four months.
The world premiere of the opera took place in Cairo on the eve of Christmas 1871. The performance resulted in a huge international triumph. High society from all over the world gathered for the premiere of the opera. Only Giuseppe Verdi was missing. But he was present - forty-six days later - at the Italian premiere in Milan. The success of this production was equally great. Since then, Aida has been a favorite opera performance and is included in the repertoire of almost every opera troupe around the world.
INTRODUCTION
For the Milan premiere, Verdi composed a special overture, but, being an artist unusually strict with himself, he rejected it. It remained in manuscript and, as far as I know, was never performed. In Milan, an expressive, although more modest in size, introduction was performed, first performed in Egypt. It remains to this day one of the pearls of symphonic music. It begins with a mournful and expressive melody of violins - the theme of Aida herself - and then develops into a contrasting harsh theme of the priests.
ACT I
The story told by Mariette was based, as he himself claimed, on a real historical event. But he did not say exactly when it happened; his only clarification: “during the time of the pharaohs.” Since the pharaohs, according to Marietta himself, ruled from 5004 BC. to 381 AD, this makes the time range in which this plot unfolds very wide. Whatever the case, the events took place during a period when Egypt was in hostile relations with Ethiopia.
Scene 1. In the throne room of the pharaoh's palace in Memphis, the Egyptian high priest Ramfis informs the young Chief of the palace guard, Radames, that the Ethiopians are again at war and that a commander must be chosen. Radames is left alone, he hopes that maybe he will be chosen as a military leader. He sings about how he hopes to one day marry the beautiful Ethiopian slave Aida and give her back her homeland. This, of course, is the famous Radames romance “Celeste Aida!” (“Dear Aida!”).
Unfortunately, the pharaoh's daughter Amneris is in love with Radames. Finding him alone, she openly tells him about her passion. But when Aida appears, Amneris unmistakably interprets the tender but hopeless glances exchanged between the tenor and soprano. Aida is embarrassed and tries to justify her tears - she sheds them because of the inevitably approaching war with her people. A dramatic terzetto follows in which each of the characters expresses their personal feelings.
Pharaoh Ramesses and his entire court enter to the sound of fanfare. They listen to the messenger's alarming message: the Ethiopians are already advancing under the leadership of a brave warrior - King Amonasro. Then the pharaoh proclaims that Radames will lead the Egyptians into battle. The anthem sounds majestically and sternly - a choral number calling on all Egyptians to come to the defense of the sacred Nile River. At the conclusion of this chorus, Amneris turns to Radames and proudly instructs him: “Ritorna vincitor!” (“Return in victory!”). Everyone leaves to the sounds of the march.
Everyone except Aida. She ironically repeats the last words of Amneris, then prays for her father so that he does not suffer in the battle, but then realizes that his victory will mean the defeat of her beloved Radames, and in the end, broken by mental anguish, she ends her big aria with a prayer to the gods take pity on her.
Scene 2 takes place in the temple of the god Ra in Memphis. A mysterious light spills from above. A long row of columns, adjacent to one another, are lost in the darkness. There are statues of various deities. In the middle, on a raised platform covered with carpets, is an altar with sacred utensils. Incense smokes on golden tripods.
The priests gathered here to perform the rite of initiation of Radames as commander-in-chief of the Egyptian army. Offstage, the voice of the Great Priestess and the choir of priestesses say a prayer. On stage, other priests perform a ritual dance in front of the altar. A silver veil is unfurled over Radames's head, and Ramfis hands him a sword. The High Priest offers a solemn prayer for the protection of Egypt's sacred land. Radames joins in this prayer, then all the other priests take it up. The whole ceremony ends with a powerful invocation addressed to the god Ra.
ACT II
Scene 1. Terrace in Amneris' chambers in the palace at Thebes. Amneris lies on his bed in languor. The maids dress her and entertain her by singing to the sound of harps. They sing about the exploits of Radames, who led the Egyptian army to victory. New fun - an eccentric Moorish dance of slave boys.
What follows is a big scene of Amneris with her Ethiopian slave Aida. The princess pretends to sympathize with the girl as the Ethiopians are defeated, but her true goal is to find out if Aida is really her rival for Radames's love. She achieves this by telling Aida that he died in battle. Aida's cry of despair confirms Amneris' suspicion. She exposed Aida and now reports that in fact Radames is alive. Aida rejoices, tears flow down her cheeks, and her eyes shine with delight. The slave asks to take pity on her, but her sorrowful plea is answered by the passionate and angry exclamations of Amneris. Suddenly their vibrant duet is interrupted by the sounds of trumpets off stage and a triumphant choir. Amneris leaves, ordering Aida to follow her to the solemn ceremony of welcoming the winners. Aida repeats her plea to the gods for death; The already familiar mournful melody sounds again - Aida’s final monologue from the 1st scene of Act I.
Scene 2. This is the grandest triumphant scene. One of the large squares of Thebes. Crowds of people surround the throne of Pharaoh. Warriors enter the square, then priests, then dancers. Ballet is involved. Everyone is rejoicing. The pharaoh ascends to the throne, and his daughter sits next to him. Radames, welcomed by everyone, enters the square. His chariot entry into the square takes place to the sounds of the “Triumphal March”, which has gained extraordinary popularity thanks to its thunderous trumpets. The pharaoh offers Radames everything he wants. Radames's first wish is for the captured prisoners to be brought forward. The unfortunate Ethiopians are brought forward in chains, among them Amonasro, their king. He manages to warn Aida that no one should know who he really is. And when Pharaoh orders him to speak, he replies that Amonasro has been killed, and that he himself is a simple warrior. With great dignity he asks to spare the vanquished. The priests are against it, they demand the death of the captives, but Radames and the people ask to save the lives of the vanquished. The pharaoh, bound by a promise to Radames, finds a solution: everyone will be freed, except that very warrior, the leader of the prisoners. He remains in a foreign land.
Then the pharaoh, without asking the young people about their own desires, announces a reward for Radames - he gives him his daughter, princess Amneris. Amneris, of course, rejoices; Aida and Radames are in a daze; Amonasro tells Aida that he still hopes to see his homeland; everyone else also sings loudly and joyfully. All this turns the final ensemble of the Act II finale into a grandiose concert climax.
ACT III
The introduction to this act is an amazingly poetic musical landscape. A hot summer night on the banks of the Nile, near the Temple of Isis. A boat glides across the water, it lands on the shore, and the High Priest Ramfis and Princess Amneris emerge from it. They enter the temple: it is the eve of her marriage to Radames, and she must pray.
As they disappear, Aida appears, covered in a veil, having a meeting with her lover here. If, she says, this meeting is destined to be the last, she will not be able to bear the separation and will throw herself into the waters of the Nile. She sings her second great romance - “O patria mia” (“O my dear land...”), in which she remembers with longing about her native country.
But before Radames appears here, Aida is discovered by her own father. At first they sing tenderly about their home country, but Amonasro has a more serious plan in mind. Their army grew stronger again. He is ready for battle. The only thing he needs to know is where to attack the Egyptians. And Aida must get this information from her lover. She recoils in horror, but Amonasro is so eloquent in describing what defeat would mean for her own people that she eventually agrees.
Hearing the steps of Radames approaching, Amonasro quickly hides behind a tree. The lovers greet each other enthusiastically. Radames hopes that the new battle that is being prepared will be able to delay his marriage to Amneris. Aida, meanwhile, is preoccupied with the thought of running away with him. Aida’s words are accompanied by a delightful melody (oboe), imbued with passionate sadness and longing for a distant homeland. But Radames refuses to become a traitor. Aida responds to his words with bitter reproaches and tells him to marry Amneris and forget her. Radames concedes. He agrees to run away with her; he even tells her where the warriors they need to avoid are located. This is exactly what Amonasro was waiting for. He runs out of his hiding place, reveals his name to the stunned Radames, and offers him the throne and safety in Ethiopia. But suddenly Amneris and the priest emerge from the temple. Amonasro and Aida manage to escape, but Radames refuses to run away with them. The commander, crowned with the glory of victory, finds himself caught in treason - in a gesture full of drama, he gives his sword to the priest.
ACT IV
Scene 1- this is the grandiose scene of Amneris. Radames is imprisoned in a dungeon located in the dungeon of the pharaoh's palace. Amneris came down here; she expects that the prisoner will be brought to her on her orders. When Radames arrives, she begs to be allowed to save him. All she asks is to give up Aida and marry her. Even when he learns that Aida has escaped (even though Amonasro has been killed), Radamès stoically rejects her offer to spare his life. The guards take him away.
A gloomy procession of priests begins into the dungeon, where the trial of Radames will take place. At this moment Amneris reveals himself. Her jealousy, she says, will bring death to her lover. The trial begins deep below. Radames is accused by the priests of deserting the camp before the battle, of betraying his country, his pharaoh, his honor. Although he is given the right to defend himself, Radames does not utter a word. The verdict sounds: Radames will be buried alive under the altar of the god he desecrated.
The priests rise from the dungeon where they administered their judgment; Amneris rushes towards them. With indignation, she brings down her curses on them, calling them “vile tigers.” But her exhortations and pleas are in vain - the priests are adamant. And, even passing by her, they continue to repeat their sentence to Radames. The scene ended. Amneris falls unconscious on the steps at the entrance to the dungeon.
Scene 2. The action takes place on two levels. It was the director's idea of Verdi himself. Above is a view of the interior of the temple of the god Ra, where two priests are rolling a stone to the entrance to the dungeon. Through this passage Radames was escorted to the crypt below. Here he awaits death; Now all his thoughts are about Hades, who is somewhere far away and, perhaps, happy, she will never hear about his terrible end. But at that moment he sees a figure approaching him, barely visible in the darkness. This is Aida. She found out what happened to Radames and managed to get into the dungeon. She waited for him here for three days (This explains Aida’s dying state, clear only in the original version of the libretto.). With a cry of mental anguish, Radames tries to lift the heavy stone, because he cannot bear the thought that Aida, so young and beautiful, is dying here, in this crypt. But death is already taking her. With her last song, “O terra, addio” (“Farewell, Earth”), she bids farewell to the world. Radames joins her. At the top, Amneris enters the temple. She prostrates herself over the crypt and whispers a prayer for Radames, who holds her dying rival in his arms. While she prays and the priests offer their prayers, below in the crypt the lovers say goodbye to life forever. The curtain slowly falls.
Henry W. Simon (translated by A. Maikapara)
In 1868, the Egyptian government asked Verdi to write an opera on an Egyptian theme for the Cairo theater, which was to be built in 1869, in time for the opening of the Suez Canal. However, it was only in 1870 that the composer agreed to begin composing Aida. A brief script was sketched by the French Egyptologist Mariette, who lived in Cairo. Du Locle took upon himself to compose the libretto in French prose, and on this basis Ghislanzoni wrote an Italian poetic text. Verdi actively participated in the creation of the libretto. It was he who introduced the theme of loyalty to the homeland and the conflict between duty and feeling (Radames, Aida), as well as the idea of condemning wars of conquest and enmity between peoples.
The large scale of the action, the masses of the choir, processions, and marches connect “Aida” with the French “grand opera”. Already in Don Carlos, Verdi showed how deeply he rethought this genre. “Aida,” with its emotional expressiveness, heartfelt lyricism and drama, is a psychological musical drama in which the setting is subordinated to a high moral idea. Of course, Verdi knew very well the traditions of “grand opera” and that variety of it that can be called exotic (its pinnacle is Meyerbeer’s “Africaine”). But an abyss separates the works of this movement and Aida. Verdi, a humanist composer who fought for justice (remember “Force of Destiny” and “Othello”), asserted with all his work the right of people to happiness.
The brilliant musician-playwright proved in Aida the high vitality of the principles of classical opera. While preserving the completed numbers - arias, duets, ensembles, choruses, he combined them into large dramatic scenes, imbuing them with acute conflict. Verdi's strength lies in his ability to reveal a feeling, character, and situation through an expressive melody. In "Aida" this art has reached new heights. In terms of penetration, psychological and emotional richness, plastic clarity and captivating melodies, the central vocal episodes of the opera surpass everything that the composer had created before. Each of the heroes - Aida, Radames, Amneris, Amonasro, Ramfis - is a unique character, an image that has only its own intonation structure. Both arias, ensembles, and individual, seemingly “passing” phrases perform an important effective function. These, in particular, are the phrases of Amonasro - the first remarks addressed to Aida (2nd part of II d.), or his triumphant exclamation “Father of Aida, the Ethiopian king!” in the Nile scene.
The musical dramaturgy of the work is conflicting through and through. This is an opera of dramatic clashes, intense struggle not only between enemies, but also between lovers. Hence its peculiar duetism: there is hardly another opera in which there would be so many dialogues, often “duels” of the heroes (Aida - Amneris, Aida - Amonasro, Aida - Radames, Amneris - Radames, the final duet of Aida and Radames).
Choirs of a monumental, majestic character have great impact, as in the scene of the victorious return of Radamès; One of the most striking orchestral episodes - the famous march - is maintained in the same spirit. But “Aida” is also rich in choirs and instrumental episodes, dramatic or heartfelt (the scene in the temple, the introduction to the night scene at the Nile, etc.). The choral and instrumental frame contains the action, the bearers of which are a few heroes. The dramaturgy of the opera forms two layers - chamber and monumental, closely related to each other. The orchestra, brilliant in its expressiveness and skill, helps the voice and creates the color of the action. "Aida" is one of the highest peaks of Verdi's work.
The very first performance brought the opera a huge success. Verdi did not attend the premiere because he was uncomfortable with the publicity surrounding it. The composer was a resolute enemy of this kind of manipulation of public opinion. He hated the fuss created by the newspapers all the more because it was similar to the fuss surrounding the production of Lohengrin in Bologna a few weeks earlier.
The triumph in Cairo was followed by the success of Aida in Verdi's homeland, and then throughout Europe. The author supervised the preparation of the performance in Milan. The premiere took place seven weeks after the Cairo one, and the composer was called upon by the public 32 times! Following Milan, on April 20, 1872, the premiere took place in Parma, on July 7 - in Padua, on March 31, 1873 - in Naples with the participation of the wonderful Czech singer T. Stoltsova (who performed under the name Stolz). She sang Aida in Milan and St. Petersburg. Verdi highly valued the talent and art of the artist, and she learned this role under his guidance. On April 20, 1874, the Berlin premiere took place, a few days later - the Vienna premiere, and on April 22, 1876 - a performance of the Italian opera in Paris under the direction of the author. The first performance took place on the stage of the Paris Grand Opera on March 22, 1880.
Aida was a huge success in Russia. This opera clearly revealed the art of the greatest Russian singers, including E. Pavlovskaya, M. Deisha-Sionitskaya, K. Brun, K. Derzhinskaya (Aida); M. Slavina, E. Lavrovskaya, N. Obukhova (Amneris); N. Figner, I. Ershov, I. Alchevsky (Radames); I. Tartakov, O. Kamionsky, M. Bocharov (Amonasro). The Russian theater interpreted Aida as a psychological drama, a drama of strong passions and heroic characters. The greatest Amneris of our stage M. Slavina and the wonderful successors of her traditions N. Obukhova, S. Preobrazhenskaya, M. Maksakova, V. Davydova, I. Arkhipova sculpted the image of their heroine, conveying all the diversity of feelings and qualities of nature: passion, tenderness, impetuosity, power, pride, jealousy and female weakness. The title role was interpreted in an equally versatile and profound way, revealing both its lyrical and vividly dramatic sides. A princess who became a slave, the daughter of a humiliated and enslaved people, who hated her enemies, but fell in love with the winner of her homeland - this is how Aida appeared on the Russian stage. The heroic interpretation of this image was manifested with particular brightness in the performance of G. Vishnevskaya.
The stage history of Aida in the Soviet theater is rich in significant productions. The theater boldly experimented, looked for new ways and forms, first being carried away by the monumental-plastic side (productions by V. Lossky at the Bolshoi Theater and the former Mariinsky Theater, both in 1922), and then, overcoming the tendency of a conventional “bas-relief” solution to the mise-en-scène, came to a genuine monumentalism and drama. A huge contribution to the interpretation of the opera was made by conductors V. Suk, E. Cooper, A. Melik-Pashayev, singers L. Savransky, B. Evlakhov, N. Ozerov, P. Lisitsian, A. Ivanov, N. Pokrovskaya, N. Khanaev, I. Petrov, K. Laptev and others.
In the last decades of the 20th century, performances of “Aida” in Italy at a summer festival in the outdoor amphitheater Arena di Verona, performed by artists from different countries, became traditional. The opera is invariably performed in modern Russia. One of the last premieres was on the stage of the Mariinsky Theater under the direction of V. Gergiev (1998, O. Borodin - Amneris).
In 1953, the opera was filmed directed by C. Fracassi with the participation of S. Lauren in the role of Aida (sung by R. Tebaldi).
A. Gozenpud
History of creation
In 1868, on the occasion of celebrations associated with the upcoming opening of the Suez Canal, the Egyptian government invited Verdi to write an opera on a national Egyptian story; The premiere of the opera coincided with the opening of the theater in Cairo. Verdi rejected the unexpected order. But in 1870, having become acquainted with the script for Aida, the composer became interested and gave his consent. The author of this script was the famous French Egyptologist O. E. Mariette; he used a legend (set out in a papyrus he deciphered) from the era of the long struggle of the pharaohs of ancient Egypt against Nubia (Ethiopia); Marriott's drawings were used to prepare the scenery and costumes for the theatrical production.
The prose text of the opera was written by the French librettist C. du Locle (1832-1903), the poetic Italian libretto was created by the poet A. Ghislanzoni (1824-1893).
Verdi took an active part in the development of the plot, carefully studying the history and art of ancient Egypt.
The premiere of Aida took place on December 24, 1871 in Cairo, and on February 8 of the following year in Milan, where the composer himself directed the production. Both productions were a triumphant success.
Music
In Aida, a personal drama, full of sharp conflicts, unfolds against a wide, colorful backdrop of monumental crowd scenes, magnificent processions, dances and hymns. In the images of cruel priests, Verdi branded the obscurantism of the clergy, which he hated. These merciless forces are opposed by the spiritual beauty and moral fortitude of Aida and Radames: their love withstands all tests, not retreating even before death. The opera is endowed with great humanistic content; it sounds like a hymn to high human feelings.
The orchestral introduction succinctly sets out the conflict of the drama: the fragile, transparent melody of the violins, painting the image of a feminine, loving Aida, is opposed to the inexorably menacing melody of the priests. It grows and expands, capturing the entire orchestra, but the tender theme of love still wins.
In the center of the first scene of the first act is a large crowd scene (the election of Radames); it is framed by solo episodes - detailed characteristics of Radames and Aida. The broad melody of Radamès’s romance “Sweet Aida”, warmed with sincere feeling, is accompanied by gentle cues from the solo woodwind instruments. In the terzetto of Amneris, Radames and Aida one can hear anxiety and confusion. These gloomy moods are contrasted by the solemn march “To the Sacred Banks of the Nile.” Aida’s big monologue “Come back to us in victory” conveys the struggle of conflicting feelings in the heroine’s soul; gusty, excited melodies give way to the enlightened prayer “My Gods.”
The second painting - a large choral dedication scene - has an oriental flavor. A mournful prayer, accompanied by harps, is replaced by a light, whimsical melody of a sacred dance; then, after the energetic calls of Ramfis, there follows the majestic heroic chorus of the priests “Gods, give us victory”; a powerful build-up leads to the combination of the choir of priests and the prayer of priestesses.
The second act opens with a transparent female chorus, interrupted by passionate phrases from Amneris; The middle section of this number is the moving dance of Moorish slaves. An expanded duet - the scene of Aida and Amneris - an acutely dramatic clash of heroines; Amneris's proud, powerful melodies are contrasted with Aida's mournful, troubled replicas. The central section of the duet is Aida’s heartfelt plea “Forgive and have pity, there is no strength to hide”; The loneliness and despair of the heroine are shaded by a solemn march coming from afar.
The second scene (act finale) is a grandiose scene of popular rejoicing (choir march of the people, anthem of the priests, dance with jewels). Against this background, the dramatic scene of Aida and Amonasro stands out. The king of the Ethiopians is characterized by a strong-willed, energetic story; His passionate plea for life, “But you are a king, and your judgment is impartial,” sounds heartfelt, joined by Aida and the choir of captives. In sharp contrast, the angry, unyielding melody of the priests bursts in: “King, do not listen to their insidious pleas.” At the end of the finale, a triumphal march sounds again - glory to the winner; intertwined with it are the joyful, triumphant exclamations of Amneris and the sorrowful melody of Aida and Radames.
In the brief orchestral introduction of the third act, transparent, tremulous sounds recreate a poetic picture of the southern night. The soulful melodies of Aida’s romance “The sky is azure and the air is clean” are interspersed with the serene strumming of the oboe. The great duet of Aida and Amonasro reflects the rich range of experiences of the heroes. The soulful opening melody gives way to the stormy, warlike music of Amonasro’s curse “Arise, enemies, and attack boldly”; the conclusion of the duet conveys Aida’s spiritual brokenness. In the duet, the strong-willed, heroic melodies of Radames are juxtaposed with the calls of the yearning Aida (they are accompanied by the sad melody of the oboe).
In the first scene of the fourth act, Amneris occupies a central place. In two large scenes, the complex spiritual world of the heroine is revealed, overwhelmed by contradictory feelings: love, jealousy, thirst for revenge. The melody of the duet Amneris and Radames has a dark, tragic tone. The scene of the trial of Radames is one of the most dramatic episodes of the opera: the stern theme of the priests is replaced by an impassive choir, muffledly coming from the dungeon. They are opposed by Aida’s restless, full of sorrow and despair, “Gods, have mercy”; The chorus of verdict “Radames, we make a decision” sounds menacingly.
The final scene of the opera is the large duet of Aida and Radames “Forgive, earth, forgive, shelter of all suffering”; his enlightened, airy melodies are distinguished by rare beauty and plasticity.
M. Druskin
Work on “Aida” lasted about two years. The order was unexpected: it came from Egypt. The opera was written for the Cairo theater (in connection with the grand opening of the Suez Canal). The plot was developed by the famous Egyptologist, French scientist Auguste Mariette and Camille du Locle, the libretto was written by Antonio Ghislanzoni. The premiere took place in 1871; The opera was soon shown in Italy with triumphant success. It has become an adornment in the repertoire of any musical theater.
The deep humanistic content of this perfect work is revealed in acutely conflicting situations, through a sharp exposure of life's contradictions. Verdi glorifies the all-encompassing feeling of love, a passionate desire for freedom, happiness and denounces the cruel forces of oppression and violence. Turning to the legendary historical plot, he imbued it with modern content.
Verdi, in his own words, hated “bigotry and chauvinism.” He showed in Don Carlos the Inquisition as a blind, fanatical force that destroys people, and thereby revealed a correct understanding of the very essence of Schiller’s freedom-loving tragedy. Verdi characterizes priests in a similar way, and in the undoubted similarity of the musical characteristics of the High Priest of the Egyptians, Ramfis, and the Spanish Grand Inquisitor, one can discern a deep meaning.
At the same time, the main conflict of Aida is enriched by the theme of the fight against national oppression. This urgent topic is embodied in the images of the main character of the opera and her father.
In connection with the general ideological evolution of Verdi - with his increased interest in exposing the evil of life (the pinnacle of these creative quests will be the image of Iago in Othello!) - the role of the priests in Hades is very great: in each act they lead the action, preparing the tragic denouement . Verdi characterizes the priests with his usual methods of embodying images of cruelty and deceit - a monophonic, unaccompanied melody moves at a measured, straightforward pace, often it sounds in a menacing unison, sometimes it develops canonically. In its consistent development, such a movement gives the impression of an inexorably approaching force:
This force, which knows no mercy, is opposed by the bright image of Aida. The main leitmotif that characterizes it is endowed with exceptional warmth; the subtle pattern and freedom of modulation development are indicative of Verdi’s new harmonic manner:
The orchestral introduction shows these opposing images. Verdi often did this in the overtures of his previous works, exposing the main conflict of the work (see the introductions to Rigoletto, La Traviata, Un ballo in maschera and others), but here the themes of the priests and Aida are not only juxtaposed, but also, as if in struggle, contrapuntally combined. Verdi's polyphonic mastery was revealed with unprecedented perfection in the opera's score:
The leitmotif of Aida is repeated in it several times. The intonation pattern of the theme does not change, but new emotional shades are introduced due to changes in the texture of the accompaniment and, mainly, the timbre of the sound. Thus, at the beginning of the overture, the theme is intoned by muted violins (they are later joined by violas); It is then sung by a flute in the lower register, a clarinet against the backdrop of tremolo strings, a cello with a bassoon, etc.
The image of Aida, like her rival Amneris, is widely depicted. The first monologue of Aida (in the 1st scene) is called a “scene” in the score - how far Verdi has moved here from the usual forms of arias! The structure of the monologue, embodying a wide range of feelings, is free, the edges of transitions from one state to another are imperceptible, the recitative is melodic - it merges with phrases of great melodiousness. In the prayer that concludes the monologue, the intonation turns characteristic of Aida’s part are fixed with their peculiar modal variability (“flickering” of either a major or minor third degree) - such turns are often found in Verdi’s music when conveying feelings of mournful tranquility:
If the monologue is dramatic and therefore declamatory in music, then the romance of Aida on the banks of the Nile (in Act III) has a song structure. And its composition is simpler: it consists of two varied stanzas, framed by an oboe pipe full of poetry:
Amneris is also endowed with leitmotif characteristics. The following theme is associated with her regal appearance:
But this is only the external side of the image - its internal content is revealed in many different statements of Amneris. The leitmotif takes on the following turn - the first scene of the meeting of Amneris with Radames (1st picture) is based on its development. This turn of phrase invariably appears - not only in the mouth of Amneris - when it comes to her jealous feelings towards her rival. Obviously, it is no coincidence that the melodic contours of the theme reveal similarities with the initial grain of Aida’s leitmotif.
There is also softness and insinuation in Amneris’s speeches when she wants to find out the love secret of Radames and Aida:
Amneris is characterized in music as a deeply feeling, strong-willed, suffering woman - then melodic phrases of wide breathing appear in her part:
This image, rich in content, is endowed with tragic features in the court scene (1st scene of Act IV): the melody of the priests, together with Ramfis, interrogating the silent Radames, rises three times in the tessitura (a-b-h) - the menacing cry of the trombones and the ominous hum of the timpani accompanies the interrogation - and three times the intonation of the exclamations of the sobbing Amneris increases (see example 159 b) - this is one of the amazing places in the opera!
Radames and Amonasro, Aida's father, the unwitting culprit of the misfortunes that befell her, are depicted in different colors. Verdi emphasizes two sides of Radames's character - in his lyrical essence he is akin to Aida, but as a warrior he has courageous, heroic traits. Therefore, in his part there are melodies characteristic of Aida, and along with them - marching, fanfare intonations associated with popular processions, victory cries (see the A-dur march of the 1st picture, the popular As-dur march and scenes of popular rejoicing in the finale of II act). A more one-dimensional characterization of the passionate patriot of the homeland, the strong-willed Amonasro.
In opera, the depiction of local color plays an important role. Verdi sensitively recreates the characteristic modal features of oriental music, using lowered II and VI degrees:
The oriental flavor is created not only by the mode and intonation structure, but also by means of timbre expressiveness. Thus, the picture of a moonlit night on the banks of the Nile (beginning of Act III) is conveyed with ingeniously found orchestral touches: the flute solos against the background of muted violins, pizzicato violas and cello harmonics; One can also point to the use of three flutes against the background of strings in the sacred dance of the priestesses (Act I), etc. Aida’s part is also colored with this oriental flavor (examples from Act III have already been mentioned above), and especially everything connected with music priests.
The acutely conflictual content of the drama determined the great dramatic significance of the dialogic scenes. They appear in the following order:
Amneris - Radames (Act I),
Amneris - Aida (Act II),
Aida - Amonasro (Act III),
Aida - Radames (Act III),
Amneris - Radames (Act IV),
Aida - Radames (Act IV).
This sequence reveals a certain compositional intent. The meetings of Aida and Radames are not of a conflictual nature, so they approach, especially in the finale of the opera, to the type of duet as joint singing. In the meetings between Amneris and Radames, the interlocutors are sharply isolated, but there is no struggle here - Radames avoids it. It’s a different matter - Aida’s conversations with Amneris or Amonasro are, in the full sense of the word, spiritual duels that have a decisive influence on the development of the drama. It is not for nothing that repeated moments of action are associated with them.
The musical structure of the first of the “duels” can be divided into seven episodes: 1) exposition of Aida (F-dur); 2) exposition of Amneris (B-dur); 3) Aida’s test: Amneris reports that Radames died (b-minor); 4) Amneris confesses to deception, the joy of Aida who gave herself away (F-dur); 5) Aida’s plea for forgiveness (As-dur, in the center as-moll - Aida’s plea, after which the As-dur march again); 7) Aida's prayer (As-dur) (The fifth section (Adagio) can be considered as a moment of “braking” after the turning point: Amneris forced Aida to confess.).
As can be seen from this schematic presentation, three times, as it were, a shadow falls on Aida’s statements: at the decisive moments of the duel in the general sequence major frets (F-dur - B-dur - F-dur - As-dur) - frets burst in minor(b-moll - f-moll - as-moll). And the captive’s prayer ends with the flickering of As-dur - as-moll.
In constructing these scenes, Verdi uses the techniques of intonation or tonal correspondences - echoes between sections of the form: they consolidate the musical development and give the form purposefulness. He also throws musical arcs of sorts between different paintings. For example, the prayer in the temple - in the ritual scenes of the dedication of Radames (finale of Act I) - is repeated at the end of the opera, when the hero is buried alive in the dungeon; the music of the women's dance of the finale of Act II is akin to the sacred dance of the priestesses from the finale of Act I; the melody of the plea for forgiveness, which is first sung by Amonasro, but then mainly led by Aida in the finale of Act II, is close to the melody of her “mortal duet” with Radames - a farewell to life with which the opera ends, etc. Such correspondences contribute to the unity of expression, create reference points in the development of operatic form:
The plot of "Aida" is multifaceted. A large place in it is devoted to folk-heroic motifs, the implementation of which required large crowd scenes. An outstanding phenomenon in this regard is the already repeatedly mentioned finale of Act II. The huge scale of the finale, the features of fresco decorativeness are combined with the deepest internal content.
This large musical composition consists of three major ensemble scenes (Allegro - Andante - Allegro). Each of them is formally rounded. An arch extends from the first stage to the third. Thus, the entire composition of the finale can be considered as a concentric form, where in the second scene there is a moment of “braking” of the action - this refers to the plea of Amonasro and Aida for forgiveness and the gift of life (Andante, F-dur).
The first scene is three-part. Following the solemn glory based on two variantly related themes, there follows a formidable procession of priests (see examples 162 a, b and example 151). In the center there is a victory march and ballet. The reprise is slightly modified due to the contrapuntal combination of the priests' theme and the second glory theme:
The second scene is dramatic: the exit of the prisoners, the story of Amonasro, the request for mercy, rejected by the cruel priests - all this creates a continuously developing action, which in the end leads to a widely developed coda - a plea for the gift of life (sextet and three choruses).
In the third scene (we omit, as above, the recitative “connections”), after the introductory section, akin to the initial theme of the first scene, a description of the main contending forces is given - Ramfis, Aida, Amneris and, a little later, Amonasro. The last section of the scene (it, like the first, has three phases of development) is the pinnacle of the finale. Three melodies - Aida singing in an octave with Radames, Amneris and Ramfis - are woven into a single knot:
The chorus, divided into three groups, supports either one or the other of the warring forces. The orchestra, with its sound, enlarges and strengthens the melodies of Aida - Radames. Amazing polyphonic mastery here is put at the service of a scenically effective situation. This is a truly unique achievement of world opera literature! (In the works of Verdi of his mature period, the importance of polyphonic techniques sharply increases. In his address to youth (1871), he wrote: “Practice fugues constantly, persistently, insatiably, until you get your hands on them and learn to freely combine voices and modulate without deliberateness.” Verdi himself pointed out that the choral polyphony in Aida is designed in the manner of Palestrina. Among Verdi’s other significant achievements in the field of polyphony, we point out the instrumental fugue depicting the battle in the new edition of Macbeth (1865), and the vocal-instrumental fugues in Requiem and Requiem. "Falstaff".)
In subsequent acts the number of crowd scenes decreases. True, in the finale of the opera, Verdi gives ensemble scenes, using a two-plane stage contrast, while simultaneously unfolding the action in the temple and in the crypt located under it. But the character of these ensembles is different. Even while working on the libretto, Verdi insisted that the entire final scene consist of “a simple and pure lyrical song.” This is typical of Verdi - most of his operas end in lyrical tones after a dramatic climax. Climaxes usually unfold against the backdrop of crowd scenes (see Act III of “Troubadour”, the finale of Act II of “La Traviata”, Act III of “Othello”) - here the tragic outcome is predetermined. The lyrical ending glorifies the moral purity and spiritual beauty of the fallen heroes. (The dramatic structure of Aida, due to the multi-themed plot, is more complex. There are two climaxes: the first falls at the end of Act II, followed by a lyrical scene on the banks of the Nile; the second climax is the court scene.)
Giuseppe Verdi
Libretto based on the script by O. Marietta written by A. Ghislanzoni. The first performance took place on December 24, 1871 G. in Cairo.
Act one.
Scene one. Throne room in the Pharaoh's palace in Memphis. Powerful, soaring columns, giant statues, magnificent decoration - everything here asserts strength, power, authority. However, the high priest Ramfis, having met the chief of the palace guard Radames in the hall, reports alarming news: the king of Ethiopia and his warriors have again crossed the border of Egypt. We must immediately move troops to meet him, otherwise he will besiege the capital. Ramfis heads to the temple of Isis to ask the goddess who will have the honor of leading the Egyptian campaign. Radames, dreaming of glory, sighs: happy is the chosen one! He will be brave and young,” Ramfis predicts meaningfully, making it clear that the supreme servant of Isis knows her decisions in advance.
Inspired by the hint, Radames, having escorted the priest to the threshold, approaches the arch in the depths of the hall. Through the arch you can see rich city blocks and gardens. Oh, Goddess choose him - he will not disgrace his native city. Campaign... Victory... Memphis applauds, offers any reward... Radames, instead of all the treasures, will ask for the only pearl - young Aida, the slave of Pharaoh's daughter Amneris.
What does he dream about? - asks Amneris, appearing accompanied by Aida. She looks inquisitively at Radames. True, the female half of the palace also heard rumors about the invasion of enemies. But for now this is a rumor. And is it worth seriously thinking about the daring Ethiopians? The Egyptians always defeated them, living proof of this is the captive Aida. So it is not the fate of the homeland that worries the proud daughter of the pharaoh now. Something else oppresses her. Passionately in love with the handsome chief of the palace guard, she often intercepts his tender glances directed at Aida. Did Radames really choose a slave over her?
The pharaoh enters the hall, surrounded by priests, guards, and a crowd of courtiers. He gathered everyone here to listen to reports from the border. Call the messenger!
Prostrated at the throne, the messenger confirms the alarming news: the king of Ethiopia, Amonasro, invaded Egypt with his hordes. Captured Thebes, threatens Memphis!
A murmur of indignation sweeps through the hall, turning into a joyful roar when the pharaoh announces: “To battle! Death to the enemies! And after the high priest declared the will of Isis - the goddess chose Radames as commander - everyone enthusiastically greets the chosen one.
Only Aida, turning pale, cannot utter a word. Fate sent her a terrible test! No one in the palace knows that she is the daughter of the king of the Ethiopians, Amonasro. If her father wins, Radames, whom she loved selflessly, will die. If the gods grant luck to Radames, her father and brothers will be defeated... Woe to her! She doesn't even know who to pray for!
Picture two. Temple of the god Ra in Memphis. The mysterious light flowing from the dome gently envelops the rows of columns, the figures of priests, the altar, at the foot of which Radames bowed. A silver veil unfurled over the commander's head. Ramfis hands over a sword, a worthy weapon of the ancestors. The all-powerful Ra will help Radames to defeat his enemies. The priests pray for victory, the priestesses bend themselves in a sacred dance... At dawn, Radames will lead the army into battle.
Act two.
Picture one. One of the rooms in Amneris' chambers. Slaves decorate the pharaoh's daughter for the upcoming celebration-triumphant meeting of Radames.
The defeat of the enemy, the success of the one for whom she had been so stubbornly waiting, and the close rendezvous make Amneris happy and awaken in her dreams of the future. And yet a slight cloud of anxiety casts a shadow on her happiness. Aida... Is it only the fate of the completely defeated Ethiopians that makes the slave shed tears? Or does she continue to hope for the impossible? The best time to try this out is now, while the slave does not know about the return of the commander.
Having sent the slaves away, Amneris calls Aida. Is the poor thing still grieving? Nothing, after night comes day... Then, hoping to quickly snatch a confession with sudden news, she reports the “death” of Radames: the hero died in the last battle.
Screaming, Aida covers her face with her hands. However, Amneris continues the game. “I was joking,” she says, grinning. “Radames did not die...” And what follows infuriates the pharaoh’s arrogant daughter. Tears flow down Aida’s cheeks, but her eyes... They shine with such delight that there is no doubt: the slave loves. Not only loves, but hopes! How dare she, despicable one!
“Are you a rival? So be it!” - Aida exclaims in self-forgetfulness. Tormented by grief, she almost admits: she is also the king’s daughter! But, realizing in time, he falls at the feet of Amneris: the lady will forgive! The mistress's lot is happiness, the slave's lot is sorrow.
Prayers are useless. Amneris orders: the slave will forget Radames. Or he will die! And because she dared to compete, she would be subjected to such humiliation as would once and for all teach the impudent submission.
Picture two. A huge area in liberated Thebes is filled with people. The pharaoh and his daughter ascend to the throne erected opposite the temple. Priests, retinue, and palace guards are stationed around. At a distance, but so as to be at hand, slaves. Among them is Aida.
The celebration begins with a parade procession. To the sounds of a solemn march, Egyptian troops pass by the throne. Dancers, gliding in a dance, show the crowd the jewelry of the vanquished. They carry banners, statues of gods, trophies. Chariots are riding, leading war horses. And finally, the one they are so impatiently waiting for appears. “Glory to the hero! Glory!" - rushes across the square. The priestesses cover the path of Radames with flowers, the most beautiful girls sing of his valor. The pharaoh himself hugs the winner: “Demand what you want!” Amneris, having crowned her chosen one with a laurel wreath, shows him a place next to her. At the same time, she cannot resist looking at Aida. How does it feel for your opponent?
Aida is in despair. Humiliated, lost among the slaves, she is convinced that she has been forgotten by Radames. Could anything be worse?
A long line of prisoners is led past the throne. Amonasro brings up the rear of the sad procession. And Aida, forgetting about herself, throws herself on his neck. Father in shackles! “Don’t give it away,” Amonasro whispers to her. Then, introducing himself as one of the military leaders, he claims that the king of the Ethiopians has been killed. He himself witnessed this. This allows the vanquished to hope for mercy. Mercy, great pharaoh!
Mercy! - the people cry. Mercy! - Aida cries. Mercy! - the defeated fall on their faces. However, Ramfis, and after him the rest of the priests, demand execution. Their will is the will of the gods. But Radames, who has been promised everything he wants, asks for the release of those taken captive. And the high priest is forced to yield. The only thing he manages to achieve is to leave Aida and her father hostages, just in case. At the end of the celebration, the pharaoh proclaims: he gives his daughter’s hand to the liberator of Egypt. Glory to Radames!
The country applauds. Radames achieved supreme power. However, he feels pain and confusion. One tear of Aida is dearer to him than all the diamonds of Amneris!
Act three
The steep bank of the Nile. The moon brightly illuminates the surface of the water, palm trees, and the temple of Isis on a high ledge. A boat moored among the stones. The high priest, Amneris, and several women emerge from it. One after another, they climb the path to the temple to ask the goddess’s consent to marry the pharaoh’s daughter.
Hiding behind the cliff, Aida looks after them in fear. She's waiting here for Radamès. What will he say? If this is their last date, Neil will be her grave. Everything here is alien to her - both nature and people. With longing, Aida remembers her native land - the azure sky, clear air, crystal streams. No, she, a hostage, is not destined to return to her native mountains and groves!
The coastal sand crunched. A shadow slides among the palm trees. “Radames,” Aida calls quietly.
She was wrong. This is Amonasro. He followed his daughter and knows everything. About her love, her suffering. That she should meet Radames here. Child™ Doesn't she want to be free again? Love your homeland? Defeat Amneris™ Does she love Radames? Well, the princess, as an equal, will extend her HAND to him -
Holding her breath, Aida looks at her father. For the day of bliss that it promises, she will sacrifice her life. But who can give her such happiness? "You yourself!" - Amonasro answers. The Ethiopians rebelled again. To break them, Radames will lead troops. The daughter must extract from him which path the Egyptians will take. Amonasro will attack by surprise.
Aida recoils. Impossible! Father persuades. Asks. Reminds me of my homeland, mother, brothers. Curses. Threatening. Finally, he mockingly throws it in her face: “Despised slave!” Hearing this, Aida raises her head. No, not a slave! She agrees... Delighted Amonasro hides behind the trunk of a palm tree - from there he will hear everything.
Silence. Expectation. And here is Radames. Having hugged Aida, he swears: he loves her alone. Military duty calls on him to lead the campaign a second time. But, upon returning, he will beg the pharaoh to break off the engagement with Amneris. Aida objects. Pharaoh's daughter will not give in, death awaits them... There is another way out - flight. The homeland of Aida, the king's daughter, will give them shelter.
Radames is amazed. Change your fatherland?! Never! But Aida begs, and he hesitates. Then, yielding to love, he agrees. We must run ahead of the troops. The army will pass through the Napata Gorge,” he reveals, having forgotten, a military secret. And he sees a man in the shadow of a palm tree. Who is this?! “Who overheard us?..” “Aida’s father. Ethiopian king,” Amo-nasro appears.
But it wasn’t just Amonasro who overheard. "Traitor!" - Amneris shouts from above. After leaving the temple, the pharaoh's daughter noticed the betrothed man with a slave. In anger, she calls Ramfis. The priest calls the guards. "Run!" - Radames says to Amonasro, detaining the guards. Aida and her father disappear into the crevices. And now... “I am your prisoner, great priest,” Radames approaches Ramfis.
Act four.
Scene one. Hall in the Pharaoh's palace. Behind the columns is a large door leading to a dungeon where especially important criminals are tried.
Amneris is motionless at the door. In the grip of contradictory feelings - hatred and love passion - she does not know what to do. Finally he gives the order to the guards to bring the prisoner.
Radames enters. At the sight of him, Amneris decides: save him! But save for yourself. Having removed the guards, she promises Radames freedom, wealth, and the throne. Your caresses. All the blessings of the world if he forgets Aida. What is life to him without love and honor? - Radames dismisses her. “So you will die, you madman!” - and Amneris calls the guards.
Then she watches in horror as the priests descend into the judgment seat. Pressing close to the heavy door, he greedily catches snatches of phrases coming from him. "Changed!" - the judges decide. Amneris, overcome with fear, rushes towards them. She loves! They must forgive Radames. But neither prayers nor curses affect the priests. The traitor will be walled up alive in the rock.
Picture two. A gloomy, narrow dungeon under the temple of the god Ra in Memphis. Enclosed in this stone bag, Radames hears the last block being laid over him. It's over. He died!
As if in response to his thoughts, a groan is heard in the darkness. Who could be here?
Aida hugs Radames. After her father's death, she returned to Memphis. Having learned about the fate of her beloved, she decided to share it. She got in here... Now no one can separate them!
Kissing Aida, catching her breath, Radames understands: tortured, wounded during the flight, she is dying. Soon he will leave after her. But, doomed, they are happy for the first time: they are together.
And above their heads, having collapsed in hopeless prayer on the stone slabs of the temple, Amneris, stricken with grief, lies in mourning clothes.
The creation of Aida (Cairo, 1871) stems from an offer from the Egyptian government to write an opera for the new opera house in Cairo to commemorate the opening of the Suez Canal. Plot was developed by the famous French Egyptologist Auguste Mariette based on an ancient Egyptian legend.
The opera reveals the idea of the struggle between good and evil, love and hate. Human passions and hopes collide with the inexorability of rock and fate. This conflict is first presented in the orchestral introduction to the opera, where two leading leitmotifs are compared and then polyphonically combined - the theme of Aida (the personification of the image of love) and the theme of the priests (the generalized image of evil, fate).
In its style, “Aida” is in many ways close "grand French opera":
- large scale (4 acts, 7 scenes);
- decorative pomp, brilliance, “spectacle”;
- an abundance of mass choral scenes and large ensembles;
- a large role for ballet and ceremonial processions.
At the same time, elements of “grand” opera are combined with features lyrical-psychological dramas, since the basic humanistic idea is strengthened by psychological conflict: all the main characters of the opera, who make up the love “triangle,” experience acute internal contradictions. So, Aida considers her love for Radames a betrayal of her father, brothers, and homeland; in the soul of Radamès military duty and love for Aida are fighting; Amneris rushes between passion and jealousy.
Opera dramaturgy
The complexity of the ideological content and the emphasis on psychological conflict determined the complexity of the dramaturgy, which is distinguished by its emphasized conflict. "Aida" is truly an opera of dramatic clashes and intense struggle not only between enemies, but also between lovers.
1 picture I actions contains exposition all the main characters of the opera, except Amonasro, Aida's father, and the beginning love line, which is literally at the very beginning of the opera. This trio of jealousy(No. 3), where the complex relationships between the participants in the “love triangle” are revealed - the first ensemble scene of the opera. In his impetuous music one can hear the anxiety, excitement of Aida and Radamès, and the barely restrained anger of Amneris. The orchestral part of the trio is based on leitmotif of jealousy.
Climax of Act I - Aida's monologue , characterizing the struggle of the most contradictory feelings in her soul. It is built in the form of a large free stage, consisting of 5 independent contrasting sections:
a) an opening recitative that captures the heroine’s mental turmoil;
b) “crazy word, oh gods forgive me!”- arioso-declamatory style, he conveys Aida’s experiences associated with her father;
V) "love has forgotten"- is built on the leitmotif of Aida’s love, which remembers Radames;
G) “and I don’t dare openly, freely...”- soulful and sad;
e) "my gods"- a prayer for death in the spirit of sublime lamento.
The monologue is surrounded by two extensive crowd scenes - the scene of the “glorification of Egypt” with the solemn hymn “To the Sacred Banks of the Nile” and the “scene of the dedication of Radames” (this is the 2nd scene of the 1st century), which by contrast emphasize its central position. The “initiation scene” in dramatic development performs the function of “inhibition”, i.e. temporary deviation from the main psychological line. At the same time, she enriches the music of the opera with a new oriental (oriental) flavor, which emphasizes the exoticism of the plot and depicts the scene of action.
In Act 2 contrast is enhanced. In his first picture, in a larger view, the contrast between the two rivals (in their duet) is given, and in the second picture (this is the finale of the 2nd act), the main conflict of the opera is significantly aggravated due to the inclusion of Amonasro, Ethiopian captives on the one hand, and the Egyptian pharaoh, Amneris, the Egyptians on the other.
IN Act 3 dramatic development switches entirely to the psychological plane - to the area of human relationships. Two duets follow one after another: Aida-Amonasro and Aida-Radames. They are very different in expressive and compositional solutions, but at the same time they create a single line of gradually increasing dramatic tension. At the very end of the action, a plot “explosion” occurs - the involuntary betrayal of Radames and the sudden appearance of Amneris, Ramfis, and the priests.
Act 4 - the absolute pinnacle of opera. Its reprisal in relation to Act I is obvious: a) both open with the duet of Amneris and Radamès;
b) in the finale, themes from the “dedication scene” are repeated, in particular, the prayer of the great priestess (however, if earlier this music accompanied the solemn glorification of Radames, here it is his ritual funeral service).
In Act 4 there are two climaxes: a tragic one in the court scene and a “quiet” lyrical one in the finale, in the farewell duet of Aida and Radames. Court scene- this is the tragic denouement of the opera, where the action develops in two parallel plans. From the dungeon comes the music of the priests accusing Radames, and in the foreground a sobbing Amneris calls out to the gods in despair. The image of Amneris is endowed with tragic features in the court scene. The fact that she, in essence, turns out to be a victim of the priests, brings Amneris into the positive camp: she, as it were, takes the place of Aida in the main conflict of the opera.
The presence of a second, “quiet” climax is an extremely important feature of the dramaturgy of Aida. After grandiose marches, processions, triumphal marches, ballet scenes, intense clashes, such a quiet, lyrical ending affirms the beautiful idea of love and deeds in its name.
Ensemble scenes of "Aida"
All the most important moments in the development of the psychological conflict in Aida are associated with ensemble scenes, the role of which is exceptionally great. This is the “trio of jealousy”, which serves as the beginning of the opera, and the duet of Aida with Amneris - the first culmination of the opera, and the duet of Aida with Radames in the finale - the denouement of the love line.
The role of duet scenes that arise in the most tense situations is especially important. In Act I, this is a duet between Amneris and Radames, which develops into a “trio of jealousy”; in act 2 - a duet between Aida and Amneris; in act 3, two duets involving Aida follow in a row. One of them is with his father, the other with Radames; in act 4 there are also two duets surrounding the climactic court scene: at the beginning - Radames-Amneris, at the end - Radames-Aida. There is hardly any other opera that contains so many duets.
At the same time, they are all very individual. The meetings of Hades with Radames are not of a conflict nature and approach the type of “ensembles of agreement” (especially in the finale). In meetings between Radamès and Amneris, the participants are sharply separated, but no struggle arises; Radamès avoids it. But the meetings of Aida with Amneris and Amonasro in the full sense of the word can be called spiritual duels.
From the point of view of form, all ensembles of "Aida" are freely organized scenes , the construction of which entirely depends on the specific psychological content. They alternate episodes based on solo and ensemble singing, recitative and purely orchestral sections. A striking example of a very dynamic dialogue scene is the duet of Hades and Amneris from Act 2 (“test duet”). The images of the two rivals are shown in collision and dynamics: the evolution of the image of Amneris goes from hypocritical softness and insinuation to undisguised hatred. Her vocal part is based mainly on pathetic recitative. The culmination of this development occurs at the moment of “throwing off the mask” - in the subject “You love, I love too”. Her frantic character, breadth of range, unexpected accents characterize the imperious, indomitable character of Amneris.
In Aida’s soul, despair gives way to stormy joy, and then a prayer for death. The vocal style is more arioso, with a predominance of mournful, pleading intonations (for example, arioso "Forgive and have mercy", based on a sad lyrical melody, sounding against the background of arpeggiated accompaniment). In this duet, Verdi uses the “invasion technique” - as if to confirm the triumph of Amneris, the sounds of the Egyptian hymn “To the Sacred Banks of the Nile” from Scene I burst into his music. Another thematic arc is the "My Gods" theme from Aida's monologue from Act I.
The development of duet scenes is always determined by a specific dramatic situation. An example is two duets from 3 d. The duet of Aida with Amonasro begins with their complete agreement, which is expressed in the coincidence of thematics (theme “We will soon return to our native land” sounds first in Amonasro, then in Aida), but its result is a psychological “distancing” of images: Aida is morally suppressed in an unequal duel.
Aida’s duet with Radames, on the contrary, begins with a contrasting comparison of images: enthusiastic exclamations of Radames ( “Again with you, dear Aida”) are contrasted with the mournful recitative of Aida. However, through overcoming the struggle of feelings, the joyful, enthusiastic consent of the heroes is achieved (Radames, in a fit of love, decides to run away with Aida).
The finale of the opera is also built in the form of a duet scene, the action of which unfolds in two parallel plans - in the dungeon (farewell to the lives of Aida and Radames) and in the temple located above it (the prayerful singing of the priestesses and the sobs of Amneris). The entire development of the final duet is directed towards a transparent, fragile, skyward theme "Forgive me, earth, forgive me, shelter of all suffering" (№ 268) . By its nature, it is close to the leitmotif of Aida’s love.
Crowd scenes of "Aida"
The psychological drama in "Hades" unfolds against a wide backdrop of monumental crowd scenes, the music of which depicts the scene (Africa) and recreates the harsh, majestic images of ancient Egypt. The musical basis of mass scenes is the themes of solemn anthems, victory marches, and triumphal processions. In Act I there are two such scenes: the scene of the “glorification of Egypt” and the “scene of the dedication of Radames.”
The main theme of the scene of the glorification of Egypt is the solemn hymn of the Egyptians "To the banks of the sacred Nile", which sounds after the pharaoh declared the will of the gods: Radames will lead the Egyptian troops. All those present are seized by a single warlike impulse. Features of the anthem: precise march rhythm, original harmonization (modal variability, widespread use of deviations into secondary keys), harsh coloring.
"Initiation Scene" - this is the 2nd scene of the opera, distinguished by its bright oriental coloring. To create a sense of Orientalism, Verdi uses:
- timbre beauty (harps in prayer to the great god Ra, an ensemble of three flutes in a sacred dance);
- exquisitely colorful harmonies and unconventional harmonic turns;
- patterned and whimsical melodic and rhythmic pattern, an abundance of lower degrees, harmonic and melodic major, modal tonal variability.
A striking example of oriental thematicism is the prayer of the great priestess (№245). This sad, mournful melody with lowered degrees of the scale, um.3, with a changeable rhythm, alternates several times with the concentrated chorale of the priests, and a kind of continuation of it is the sacred dance of the priestesses, the music is very close to prayer and in the same key.
After the majestic recitative of Ramfis, a solemn chorus of priests follows "Gods, give us victory." A powerful build-up leads to a climax - the simultaneous sound of a choir of priests and a prayer of priestesses.
The largest crowd scene in Aida is Act 2 finale. As in the dedication scene, the composer uses here a wide variety of elements of operatic action: singing soloists, chorus, ballet. Along with the main orchestra, a brass band is used on stage. The abundance of participants explains multi-topic finale: it is based on many themes of a very different nature: a solemn anthem "Glory to Egypt" singing theme of the female choir "Laurel wreaths" the victorious march, the melody of which is led by a solo trumpet, the ominous leitmotif of the priests, the dramatic theme of Amonasro's monologue, the Ethiopians' plea for mercy, etc. The many episodes that make up the finale of part 2 are combined into a harmonious, symmetrical structure consisting of three parts.
Part I is three-part. It is framed by a jubilant chorus of “Glory to Egypt” and the stern singing of the priests, based on their leitmotif. In the middle, the famous march (trumpet solo) and ballet music sound.
Part 2 contrasts with its extreme drama; it is formed by episodes involving Amonasro and Ethiopian captives pleading for mercy.
Part 3 is a dynamic reprise, which begins with an even more powerful sound of the “Glory to Egypt” theme. Now it is combined with the voices of all soloists according to the principle of contrasting polyphony.
