But the subtlety of the score, its warmth, its varied and ably managed expression, almost make plausible the submission of the young girl to the adjurations of Amonasro, and excusable a decision of which she does not foresee the consequences.
It is more likely, however, that the themes are original with Verdi and that the Oriental tone colour, which makes the music of the scene so fascinating, is due to his employment of certain intervals peculiar to the music of Eastern people.
Messengers have arrived from the front with news that Rhadames has put the Ethiopians to utter rout and is returning with many trophies and captives. A boat approaches the shore and out of it steps Amneris and the high priest, with a train of closely veiled women and several guards.
But amid the acclaims that follow, as Rhadames, to the strains of march and chorus, is conducted by the priest to the temple of Phtah to be invested with the consecrated armour, Amneris notes the fiery look he casts upon Aida. For a while they have entered the temple, the shore seems deserted.
Together they wait for death to come.
When the second group enters and intones the same stirring march theme in B-natural, the enharmonic modulation to a tone higher gives an immediate and vastly effective "lift" to the music and the scene. A subsequent press release from the show's publicist stated that Headley and Pascal sustained minor injuries and were taken to Northwestern Memorial Hospital for examination.
The chamber of Amneris Act 2 takes place two years later. When they enter, one of them, by his proud mien and spirited carriage, easily stands forth from the rest. Aida recognizes among them her father; he is disguised as a captain and warns her not to reveal his true identity.
The guards capture him.
Then, turning to the Egyptian monarch, he craftily describes how he has seen the king of Ethiopia dead at his feet from many wounds, and concludes by entreating clemency for the conquered. Broadway[ edit ] The musical, now titled Elton John and Tim Rice's Aida, premiered on Broadway at the Palace Theatre on March 23, and closed on September 5, after 30 previews and 1, performances.
The Vault in the Temple Amneris wants to try to save Radames, who is a prisoner in a dark vault. The interval of three tones -- the characteristic of the Oriental scale -- could not be more clearly shown than it is under the second bracket of the sacred dance.
She is worried that he is in love with someone else. Radames is appalled that he has unwittingly betrayed his country, and now refuses to escape with them.
Both were released from the hospital a few hours later. The French prose libretto was translated into Italian verse by Antonio Ghislanzoni, who wrote more than sixty opera librettos, "Aida" being the most famous.
One of them is the Ethiopian king, Amonasro, father of Aida, although the Egyptians do not know who he is. In a hall of the Royal Palace Amneris awaits the passage, under guard, of Rhadames to the dungeon where the priests are to sit in judgment upon him.
Oh, joy and sorrowwhich expresses the craftiness and subtlety of the Egyptian Princess, the conflicting emotions of Aida, and the dramatic stress of the whole episode.
The Egyptians are unaware of this. He is relieved to hear Aida is still alive and that she hopes to get back to her own country.
The priestesses perform a sacred dance. There is a duet between Rhadames and this woman, who now bitterly repents the doom her jealousy is about to bring upon the man she loves.
Meanwhile the Egyptian hosts have gathered before the temple. At last Rhadames, carried away by his feelings, himself joins in the appeal for clemency.
Then comes the chorus of triumph. The situation is one of those in which Verdi delights; he is in his element. Du Locle turned the sketch into French prose.
The gods have delivered these enemies into the hands of Egypt; let them be put to death lest, emboldened by a pardon so easily obtained, they should rush to arms again. A new, revised production opened on November 12,at the Cadillac Palace in Chicagoand ran through January 9, Ramphis, the high priest, at the foot of the altar; priest and priestesses; and afterwards Rhadames are shown in the Temple of Vulcan at Memphis.
Priest, soldiers, Ethiopian slaves, prisoners, Egyptians, etc. She implores him in passionate accents to escape with her. She tells her that she herself also loves him. The King says that the Egyptians must fight the Ethiopians. All pray for his coming trials and for his victory in battle.
In song she breathes forth memories of her native land. When the King enters to the cheers of the multitude and followed by his gaudily clad court, he takes his seat on the throne surmounted by a purple canopy.
At first the thought is abhorrent to Aida, but her father by craftily inciting her love of country and no less her jealousy and despair, at last is able to wrest consent from her; then draws back into the shadow as he hears Rhadames approaching.
Verdi asked his publisher for an Italian librettist and Antonio Ghislanzoni was chosen.The Story Behind the Story | 8 Europe at the Time of Aida | 9 Piecing Together an Ancient World | 10 Aida – an Ethiopian Princess King of Ethiopia and Aida’s father, disguised as an officer.
Recognizing him, Aida cries out “My father!” When they embrace, he tells her quietly not to reveal. Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from the Egyptians. Amonasro deceptively proclaims to the Egyptians that the Ethiopian king (referring to himself) has been slain in battle.
Aida (or, Aïda) is an Italian opera in four acts. The music was written by Giuseppe Verdi. The music was written by Giuseppe Verdi. The libretto (story and words) was written by Antonio Ghislanzoni.
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Get started now! An Analysis of the Characterizations of Aida and Amneris. The Princess Amneris and her slave Aida In battle, he captures Aida’s father, the king of Ethiopia, and triumphantly returns to Egypt where Radames is awarded the hand of Amneris.
Convinced by her father, Amonasro, Aida persuades Radames to flee with her to Ethiopia and. Aida (also known as Elton John and Tim Rice's Aida) is a musical based on the opera of the same name written by Antonio Ghislanzoni with music by Giuseppe Verdi.
It has music by Elton John, lyrics by Tim Rice, and book by Linda Woolverton, Robert Falls, and David Henry Hwang, and was originally produced by Walt Disney Theatrical.Download