![]() ![]() He accepted, and as he began to search for a subject, French librettist Camille du Locle suggested a story set in Ancient Egypt itself, sending Verdi a synopsis written by the famous Egyptologist Auguste Mariette. In 1870, Verdi received a prestigious commission from the Khedive of Egypt – to compose a new opera for the opening of the Khedivial Opera House. ![]() ![]() And at the end, the music seems to fade out – the orchestra and chorus become more and more distant as the lovers die entombed together. Instead of a big, bold overture, Verdi chooses a hushed prelude – the violins open with Aida’s theme played almost as a whisper. Listen out especially for the opening and close of the piece. Hear it below sung by our own Aida – soprano Alexandra Zabala, plus other extracts. With heart-breaking repetitions of the words ‘mai piu’ (never more), the aria becomes increasingly dreamlike, leading to an ethereal, floated top C. A yearning lament for the homeland she will never see again (her father has just lost his kingdom and been taken captive), the soprano line is accompanied by a wistful oboe melody. However, Aida also features music of great delicacy, such as Aida’s Act III aria ‘ O patria mia’. The march uses a martial, war-like rhythm and layers brass upon brass as the melodic line rises, getting steadily louder until the full chorus enters, creating a magnificent wall of sound. Within the opera, it marks Radamès’ victorious return from battle in Act II. Aida’s ‘big hit’ is the Triumphal March, which you’re sure to recognise. ![]()
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