Aida Giuseppe Verdi An intimate and breathtaking production set in ancient Egypt where cultural oppression, war and passion rule. Conductor: JOHN DEMAIN Stage Director: LILLIAN GROAG Performed in Italian with English Supertitles. Featuring the Richmond Ballet.

Virginia Opera features a free pre-opera presentation (except opening night in Norfolk) available before the opera by Dr. Glenn Winters, Virginia Opera's Community Musical Outreach Director.

Running time approx: 2 hours 45 minutes

Ancient Egypt, where pyramids reach the blue heavens and the pharaoh rules with god-like power. Violent unrest and forbidden love create a turbulent backdrop for a tale of betrayal and vengeance. Radames, Commander of the Egyptian army, has rejected the love of the princess Amneris for the Ethiopian slave Aida. A sandstorm of secret plots and divided loyalties can only end in doom and tragedy. Death to traitors!

The white-hot intensity of Verdi's music is enhanced by the energy of the Richmond Ballet dancers in a compelling production combining spectacle and intimacy.

AIDA SYNOPSIS

ACT I
Egypt, in ancient times during a period of war with Ethiopia. Amneris, daughter of the King, loves the warrior Radames who, in turn, loves the Ethiopian slave Aida, secretly the daughter of King Amonasro. In the Royal Palace at Memphis, high priest Ramphis hints broadly to Radames that he has been chosen by the goddess Isis to lead Egypt into battle. Alone, Radames is giddy with dreams both of military glory and Aida. He is interrupted by Amneris, who is instantly suspicious of his love-struck expression. When Aida joins them, the dynamic between her and Radames fails to reassure Amneris who nonetheless feigns friendship with her rival. An assembly led by the King gathers to hear news of a fresh attack from Amonasro’s army. Spurred by war-cries, the King names Radames Commander-in-chief. Aida remains to fret over her divided loyalties to father and lover.

Priests and priestesses gather in the Temple of Vulcan for the sacred ceremony of Radames’ consecration as Commander in Chief of the Egyptian Army. Amid dances and chants invoking almighty Phtah, Radames accepts his commission.

ACT II
Having heard news of Egypt’s victory, Amneris prepares for the Victory Celebration in her apartment, and thinking longingly of Radames’ victorious return. Anxious to learn the truth about Radames and Aida, she lays a trap for the slave. First brought to tears with false news of Radames’ death, Aida cannot restrain an admission of love when the lie is revealed. Openly hostile now, Amneris rages while Aida begs for mercy.

A great victory parade at Thebes is overseen by the King and Amneris, who crowns Radames with laurel. Amid processions of the spoils of war and among prisoners from the Ethiopian High Command Aida detects her father in disguise. He admonishes Aida to remain silent as no one knows they have caught the King as well. Speaking for his people, Amonasro requests mercy for the Ethiopians, a request seconded by Radames. Against the advice of his Council, the King agrees to release all prisoners save Amonasro and Aida. Radames is to receive the ultimate reward: Amneris’ hand in marriage.

ACT III
Along the banks of the Nile, Amneris, accompanied by Ramphis, enters The Temple of Isis to pray in preparation for her wedding. Aida enters furtively to keep a rendezvous with Radames but is engulfed by homesickness as she waits. Her father appears.  As the Council predicted, he is plotting an escape and new aggression against Egypt. With skillful manipulation, Amonasro coerces Aida’s agreement to elicit from Radames the location of the path the Egyptian Army will take when repelling the new Ethiopian attack, then withdraws to watch when Radames appears. The lovers re-affirm their devotion; Radames is unable to resist when Aida proposes that they flee together to her homeland. Mindful of her father’s bidding; she asks the route of the Egyptian army. Radames’ response brings Amonasro out of hiding with a shout of triumph. Instantly aware of his blunder, Radames is distraught. He surrenders his sword to Ramphis, and is arrested by the guards while the two Ethiopians run off.

ACT IV
Amneris waits for Radames as he is led to a Court Martial for High Treason. Torn between the desire to save him and the hurt of her spurned love, Amneris is unable to persuade Radames to disavow his feelings for Aida, who is still alive, although her father has been killed. Radames is led away to face the priests, whose accusations of treachery he greets with silence. When a sentence of death is imposed, a distraught Amneris begs for clemency, then rails furiously against the Judges, and swears vengeance.  

Entombed beneath the temple of Vulcan, Radames is shocked to find Aida waiting to share his fate with him. They bid the world farewell in each other’s arms, while above them, a grieving Amneris mourns and prays for peace.

About the Composer

Giuseppe Verdi (1813-1901)

Giuseppe Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture - such as "La donna è mobile" from Rigoletto, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, "Libiamo ne' lieti calici" (The Drinking Song) from La Traviata and the "Grand March" from Aida. Verdi’s masterworks dominate the standard repertoire a century and a half after their composition.

With the death of national Italian poet Alessandro Manzoni in 1874, Verdi responded with the composition of his "Messa da Requiem", which some critics still call "Verdi's greatest opera" because of its passionate and intensely dramatic writing. In his last years, Verdi worked closely with Arrigo Boito, a poet and composer of operas himself, in the construction of the librettos, or texts, of what would become his final two operas. Both based on Shakespearean subjects, the results are widely regarded as Verdi's greatest triumphs, the tragedy "Otello" and the comedy "Falstaff", (based on "The Merry Wives of Windsor,").

When Verdi died in 1901 he was admired, revered, and acknowledged as probably the greatest composer Italy had ever produced. His works had almost completely monopolized the Italian operatic scene for most of the nineteenth century, and many lesser composers rushed to fill the void left by his death. Many composed in a style reminiscent of Verdi's final operas (particularly Otello), a style that was to influence the emerging verismo school of Italian opera and which led directly to the works of Giacomo Puccini.

When he died at the age of 87, two hundred thousand people came to pay homage. The composer had instructed that no music be played at his funeral; however, before the procession left the cemetery, Arturo Toscanini conducted a mass choir which sang his beloved "Va, Pensiero" from "Nabucco", which soon spread throughout the crowd.

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