Great moments in opera: Aida

June 16, 2013

Verdi’s Aida was written fairly late in his life; he was never to write another that matched its popularity. I have a friend who regards it with a certain bemusement as a canonical example of elephantine opera, and this is true to some extent (though, in fairness, the production I watched this week had only elephant tusks, rather than real, whole elephants). It has an exotic setting, in the court of the Pharaoh in ancient Egypt, and is plump with pomp and circumstance. But it gives its singers some very beautiful material, and it has a fine, tragic finale.

The story is basically that of a love triangle between Radames, the commander of the Egyptian army, Aida, a servant in the Pharaoh’s household who also happens to be an Ethiopian princess, and Amneris, the Pharaoh’s daughter. Both Aida and Amneris love Radames, but Radames loves only Aida.
In the first act Radames sings a celebrated aria, Celeste Aida (Heavenly Aida), in which he expresses his love for her. It has one of those gorgeous melodies which, once heard, will be with you for the rest of the day. It is the aria I think of first when I think of this opera. Here is Luciano Pavarotti, senza subtitles:

By Act III Radames has led the Egyptian forces to battle against an invading Ethopian army intent on rescuing Aida, and returned triumphant. Aida sings a beautiful aria of lament: O patria mia, mai più ti rivedrò! (O my country, never more will I see you!) Here is Leontyne Price, con subtitles:

As I said above, the finale of Aida is a show-stopper. Radames falls from grace when his love for Aida is revealed, and he is condemend to death for treason. The Egyptians bury him alive inside a great stone tomb, and as he despairs over his loss of Aida he is surprised to find her in the tomb with him — she had snuck in when she learned of the punishment decreed for him. The opera comes to a close with an amazing trio: Radames and Aida inside the tomb, embracing and declaring their love, and Amneris on the outside, lamenting Radames’ death. Dramatically I find it extremely effective. Much of the music of this scene reprises material heard earlier, so structurally it works well too. Here are Placido Domingo, Aprile Millo, and Dolora Zajick from a 1989 production at the Met:

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