AIDA "Aida," a romantic grand opera in four acts, with music by Giuseppe Verdi, and with text translated from the French of Lode by Antonio Ghislanzoni, received its pre mier performance in Cairo, Dec. 24, 1871. The opera was written by the order of the Khedive of Egypt.
Aida, a Captive.
Amneris, daughter of Pharaoh, King of Egypt. Rhadames, an Egyptian general.
Amonasro, King of Ethiopia.
Ramphis, High Priest of Egypt.
A Messenger.
Priests, priestesses, ministers, captains, soldiers, func tionaries, slaves and Ethiopian prisoners.
The scene of the opera is laid in Memphis and Thebes, :n the time of the Pharaohs. Aida is the daughter of Amonasro of Ethiopia, who has risen unsuccessfully against Pharaoh. The girl, sharing in the fortunes of war, is taken captive by the Egyptians and is given as a slave to Pha raoh's daughter, Amneris. Rhadames, a young general, is loved by both Amneris and her slave and the latter is secretly loved by him.
The High Priest, Ramphis, announces the approach of the Ethiopians against Thebes and Rhadames is chosen to march against them. He returns in triumph with their King, Amonasro, disguised as an officer, chained to his chariot-wheels. It may be added that he is ignorant of the fact that Aida is the daughter of Amonasro. The suspi cions of Amneris that there is an attachment between the general and her slave have been growing and during his absence she has devised a pretty test. She announces in the presence of Aida that Rhadames has fallen in battle and the girl's misery is sufficiently evident to set her doubts at rest.
Pharaoh is so pleased with the military prowess of Rhadames that he concludes to recompense him with the hand of his royal daughter. Naturally, the joy of Rhada Ines is not overgreat. Meantime, Aida fearing for the fate of her father, whose identity is not known at the Egyptian court, pleads that the captives may be released. Rhadames adds his prayers to hers. Pharaoh pardons all save Amonasro, whom be retains at the palace and thus the father and daughter are brought into communication. At Amonasro's suggestion, Aida begs from her lover the mili tary plans which shall lead to the recovery of the Ethiopian kingdom and the liberty of its ruler. The lovers have a secret meeting near the temple of Isis and Rhadames, influ enced by Aida, yields the plans and consents to fly from Egypt with the captive King and his daughter. The inter view is overheard, however, by Amneris and the High Priest and Rhadames is denounced as a traitor. Aida and her father escape but Rhadames is tried and sentenced to be buried alive beneath the floor of the temple of Phtah. He
is offered the hand of Amneris as an alternative but refuses to accept it. When he descends into the vault, he finds Aida waiting to share his death. The priests seal their tomb with a rock, while Amneris kneels in prayer above their living sepulchre, her jealousy proving stronger than her anguish even at the last. , The music of "Aida " possesses marked dramatic power and native oriental coloring is woven into its texture, the effect in the sacred chants and dances being achieved largely with harps and flutes.
A short fugued introduction played softly precedes the first act, and contains a suggestion of the mysterious, which again and again is felt throughout the opera.
The opera in its entirety is stately and majestic in conception, brilliant and melodious in music, and serves as a vehicle for unbounded stage display.
Among the principal numbers are Rhadames' tenor solo " Celeste Aida " (" Heavenly Aida "), sung in the first act. It is a charming romanza, in which we hear mingled the visions of triumph, of love, and of glory. He sings of Aida crowned by his valor, and ends his song in a soft tenor strain ; the clarinet is noticeable in the staccato accompaniment, which lends a peculiar, rather melancholy, effect ; Aida's lament " Ritorna vincitor " (" May laurels crown thy brow "), in which she gives expression to her anguish, for war means death to either her father or her lover, and her heart is torn with love and with fear for both; she ends by calling in piteous appeal to the gods, to whom all things are possible; the hymn of the high priestess to Phath, in the scene in the Temple of Phath where an elaborate service is taking place; Aida's soprano solo with its peculiar Oriental melody, answered by a chorus of priestesses, who in turn are an swered by the heavy chant of Ramphis and his priests. It is in this scene that the sacred dance of the priestesses occurs, and then while clouds of incense rise to the all-powerful Phath, and the fantastic wail or hymn continues, Ramphis places the veil upon Rhadames Ind consecrates him to the cause, urging him" prove worthy of the charge with which he is intruste hada mes replies in an expressive prayer for divine guid ce an* support, "Mime custode " (" Divine custody "), the armor, and departs, while the priestesses contin the mystic dance and the chant to Phath, and so this most in teresting and mysterious scene closes.