Classical Music | Tenor

Recorded on 12/31/1969, uploaded on 04/08/2009

Musician's or Publisher's Notes

One of Italy's most renowned opera composers, Verdi decided to end his successful career following the production of Aida. Commissioned by Isma'il Pasha, Khedive of Egypt, Aida was intended for a premiere in January 1871 at the Khedivial Opera House in Cairo. Unfortunately, the outbreak of the Franco-Prussian War caused the set designs and customs to be trapped in Paris and the performance date was pushed back nearly a year to December 24. The long-awaited premiere, however, was not what the composer had wished. Even though he was not in attendance, Verdi was displeased that the audience was primarily made up of invited dignitaries, politicians and critics, but not the general public. A little more than a month later, on February 8, Aida received its European premiere at La Scala, Milan, in which the composer took an active role and considered the opera's real premiere. On both occasions Aida was enthusiastically received and an outstanding success for Verdi. It was quickly staged at other opera houses across Europe and received its American premiere in 1873. Today, over a century after its composition, it is still a staple of the operatic repertoire and one of the most frequently produced operas.

In the finale of Act III, Radamès meets Aida in secret on the banks of the Nile. It is the eve of his wedding to Amneris, the king’s daughter, but he reaffirms his love for Aida (Pur ti riveggo, mia dolce Aida / “Again I see you, my sweet Aida”) despite her fears that they would both face the judgment of the priesthood and the king if their love for each other was discovered. Confident in Radamès’s love for her, Aida then asks him to flee Egypt with her (Fuggiam gli ardori inospiti / “Ah, flee from where these burning skies”). Radamès, however, is uncertain and hesitant, unwilling to leave the country for which he has fought and the land where he first saw Aida (Il ciel de’ nostri amori come scordar potrem). Eventually, he gives in and agrees to flee with Aida and confides in her their safest route of escape to avoid the impending battles between the Egyptians and Ethiopians. Yet, Radamès has been partially played the fool. Aida had been previous charged by her father, king Amonasro, to get Radamès to reveal the location of the Egyptian armies. When he does so, Amonasro reveals himself. Radamès is shocked that Aida’s father is the enemy’s kings and even more distraught that he has revealed the location of his army. Yet, Amonasro and Aida together try to console him (Ah no! ti calma ascoltami / A te l’amor d’Aida). Radamès, however, is overcome with the thought that he has betrayed his countrymen (Io son disonorato per te tradii la patria). When Amneris and Ramfis, the high priest, leave the Temple of Isis and discover their young captain with the enemy, they call the guards. Aida and Amonasro beg Radamès to escape with them. Instead, he ultimately ensures their escape by letting himself be captured while Amonasro is forced to drag Aida from her lover to safety as the act comes to a close.       Joseph DuBose