Verdi wrote his Egyptian opera Aida in response to a commission from the Khedive of Egypt for the opening of the new Cairo Opera House, after rejecting requests for an anthem to celebrate the opening of the Suez Canal a year earlier. The first performance was conducted by the famous double-bass player Bottesini. Spectacle, of which some stage directors have made much, is provided particularly in the return of the victorious Radames in triumph. The story was the invention of the French egyptologist Auguste Mariette, elaborated in French prose by Camille Du Locle, before the final Italian text was drafted. Aida remains a popular part of Italian opera repertoire. Familiar concert excerpts from Aida inevitably include the tenor Celeste Aida (Heavenly Aida) and Aida's Ritorna vincitor (Return victorious). The grand march has celebrated many an unoperatic festivity and has allowed spectacular extravagance in more ostentatious productions of the opera. O patria mia (O my homeland) for Aida in the third act adds a particular poignancy, while the final death scene of Radames and Aida is also sometimes to be heard in dramatic isolation.
11 Act III: Qui Radames Verra!... O Patria Mia - Maria Dragoni
12 Act III: Ciel Mio Padre!... Su Dunque! - Maria Dragoni/Mark Rucker/Kristjan Johannson/Barbara Dever/Francesco Ellero D'artegna
13 Act IV: L'abborita Rivale a Me Sfuggia... Gia I Sacerdoti - Barbara Dever
14 Act IV: Die Mie Discolpe - Kristjan Johannson/Barbara Dever
15 Act IV: Morire! Ah, Tu Dei Vivere - Kristjan Johannson/Barbara Dever/Mark Rucker
16 Act IV: Chi Ti Salva, Sciagurato - Barbara Dever/Kristjan Johannson
17 Act IV: E la Morte Un Ben Supremo - Kristjan Johannson/Barbara Dever/Francesco Ellero D'artegna
18 Act IV: La Fatal Pietra... Morir! Si Pura E Bella - Kristjan Johannson/Maria Dragoni
19 Act IV: O Terra, Addio; Addio Di Vale Di Pianto - Kristjan Johannson/Maria Dragoni/Barbara Dever
Verdi wrote his Egyptian opera Aida in response to a commission from the Khedive of Egypt for the opening of the new Cairo Opera House, after rejecting requests for an anthem to celebrate the opening of the Suez Canal a year earlier. The first performance was conducted by the famous double-bass player Bottesini. Spectacle, of which some stage directors have made much, is provided particularly in the return of the victorious Radames in triumph. The story was the invention of the French egyptologist Auguste Mariette, elaborated in French prose by Camille Du Locle, before the final Italian text was drafted. Aida remains a popular part of Italian opera repertoire. Familiar concert excerpts from Aida inevitably include the tenor Celeste Aida (Heavenly Aida) and Aida's Ritorna vincitor (Return victorious). The grand march has celebrated many an unoperatic festivity and has allowed spectacular extravagance in more ostentatious productions of the opera. O patria mia (O my homeland) for Aida in the third act adds a particular poignancy, while the final death scene of Radames and Aida is also sometimes to be heard in dramatic isolation.
