Aida

Grosses Festspielhaus, Salzburg, Austria

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7:30 PM

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Important Info

Festival: Salzburg Festival Summer 2022

Type: Opera

City: Salzburg, Austria

Starts at: 19:30

Acts: 4

Intervals: 1

Duration: 3h 30min

Titles in: German,English

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

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Festival

Salzburg Festival Summer 2022

With 174 performances in 45 days at 17 venues, the Salzburg Festival presented a diverse program. Opera highlights included Mozart's The Magic Flute and Verdi's Aida. In addition to Jedermann, the drama programme included Schnitzler's Reigen. The concert programme featured the Ouverture Spirituelle under the title Sacrificium, as well as numerous other concerts with top-class orchestras and soloists.

Overview

"Already I see heaven opening, there all torment ceases, there begins the ecstasy of an immortal love." Egypt and Ethiopia are at war. The Egyptian captain Radamès dreams. First and foremost of his secret beloved, the Ethiopian slave Aida, who is living at the royal court of Egypt and whom he wants to make his own. Princess Amneris is also in love with Radamès, but already suspects that he is more interested in Aida than in her. Although no one is as yet aware of the fact, Aida is the daughter of the Ethiopian king Amonasro and fears for the lives of all her loved ones.

The opera begins in this state of emotional imbalance between the three protagonists. Radamès is rapidly promoted to general and goes to war against Ethiopia. He wins the campaign, takes Amonasro prisoner and returns in triumph. Aida is devastated and forced to watch the suffering of those nearest to her. To make matters worse, the Egyptian king makes Radamès a highly unwelcome gift, designating him his successor and giving him the hand in marriage of his daughter Amneris. A nightmare for Aida. A nightmare for Radamès. Now begins a desperate attempt at rescue that can only end in disaster for all concerned. All the composer can offer the pair of lovers is the vague hope of solace in a shared utopian realm beyond this world.
In the 19th century the Orient held a special fascination for Europeans, whose colonial ambitions gained them increasing influence in the Arab world. At the same time, the discoveries made by Egyptologists piqued European curiosity and appetite for the exotic. From 1863 Egypt was ruled as part of the Ottoman Empire by the khedive Ismail Pasha, who sought to make Cairo the ‘Paris of the East’. Among his greatest achievements in this field was the construction of an opera house, whose inauguration in 1869 also celebrated the opening of the Suez Canal. Although the very first opera to be performed there was Rigoletto, Ismail Pasha had set his heart on commissioning a completely new work from Giuseppe Verdi, whom he regarded as the greatest opera composer in the world: a unique and spectacular piece to be based on Egyptian sources. When Verdi began work on Aida in 1870 he was 56 years old and had composed 24 operas. Now grown somewhat weary, he longed to retire, but as recorded in his letters, his creative urges were sparked anew when he laid hands on the story of Aida. The opera premiered in Cairo in December 1871.

Aida revisited
It was with Aida that Shirin Neshat made her debut as opera director at the 2017 Salzburg Festival. Five years later she now has the opportunity to re-explorethe opera, creating a dialogue with themes and motifs in her own work. In this, the close-up focus on the three main figures will assume a primary role. Aida, Radamès and Amneris are torn between their fantasies — dreams of an alternative life — and the reality of a society that will use any means to enforce the role models it allocates to them. A life dictated in advance. The fact that all three figures are unwilling to follow these pre-ordained paths provides the true motor of the action. Oscillating between tempting dreams and the constant, intrusive demands of a strident reality, those involved can only be torn apart, pulled asunder by something that will eventually undo them, crushing and annihilating them. The dominant theme is the permanent state of war that penetrates their innermost existence — as war between Egyptians and Ethiopians, between the powerful and the powerless, between men and women, and not least between the individual’s desires and duties. All that remains is despair and grief.

Yvonne Gebauer
Translation: Sophie Kidd

History

Premiere of this production: 24 December 1871, Khedivial Opera House in Cairo

Aida is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in the Old Kingdom of Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1871, in a performance conducted by Giovanni Bottesini. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera.

Synopsis

Backstory: The Egyptians have captured and enslaved Aida, an Ethiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the King of Egypt. To complicate the story further, the King's daughter Amneris is in love with Radamès, although he does not return her feelings.

Act 1

Scene 1: A hall in the King's palace; through the rear gate the pyramids and temples of Memphis are visible

Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Ethiopians seems inevitable, and Radamès hopes that he will be chosen as the Egyptian commander (Ramfis, Radamès: "Sì, corre voce l'Etiope ardisca" / Yes, it is rumored that Ethiopia dares once again to threaten our power).

Radamès dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave, with whom he is secretly in love (Radamès: "Se quel guerrier io fossi! ... Celeste Aida" / Heavenly Aida). Aida, who is also secretly in love with Radamès, is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude.

Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else (Radamès, Amneris: "Quale insolita gioia nel tuo sguardo" / In your looks I trace a joy unwonted).

Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but is able to hide her jealousy and approach Aida (Amneris, Aida, Radamès: "Vieni, o diletta, appressati" / Come, O delight, come closer).

The King enters, along with the High Priest, Ramfis, and the whole palace court. A messenger announces that the Ethiopians, led by King Amonasro, are marching towards Thebes. The King declares war and proclaims that Radamès is the man chosen by the goddess Isis to be the leader of the army (The King, Messenger, Radamès, Aida, Amneris, Ramfis, chorus: "Alta cagion v'aduna .. Guerra, guerra, guerra!" / Oh fate o'er Egypt looming .. War, war, war!). Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms (The King, Radamès, Aida, Amneris, chorus: "Su! del Nilo al sacro lido" .. (reprise) "Guerra, guerra guerra!" / On! Of Nilus' sacred river, guard the shores .. (reprise) War, war, war!).

Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès (Aida: "Ritorna vincitor" / Return a conqueror).

Scene 2: Inside the Temple of Vulcan

Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: "Possente Ftha ... Tu che dal nulla" / O mighty Ptah). This is followed by the installation of Radamès to the office of commander-in-chief (High Priestess, chorus, Ramfis, Radamès: "Immenso Ftha .. Mortal, diletto ai Numi" / O mighty one, guard and protect!). All present in the temple pray fervently for the victory of Egypt and protection for their warriors ("Nume, custode e vindice"/ Hear us, O guardian deity).

Act 2

Scene 1: The chamber of Amneris

Dances and music to celebrate Radamès' victory take place (Chorus, Amneris: "Chi mai fra gli inni e i plausi" / Our songs his glory praising). However, Amneris is still in doubt about Radamès' love and wonders whether Aida is in love with him. She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves (Chorus, Amneris: "Vieni: sul crin ti piovano" / Come bind your flowing tresses).

When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by the news, Aida confesses that her heart belongs to Radamès eternally (Amneris, Aida: "Fu la sorte dell'armi a' tuoi funesta" / The battle's outcome was cruel for your people).

This confession fires Amneris with rage, and she plans on taking revenge on Aida. Ignoring Aida's pleadings (Amneris, Aida, chorus: "Su! del Nilo al sacro lido" / Up! at the sacred shores of the Nile), Amneris leaves her alone in the chamber.

Scene 2: The grand gate of the city of Thebes

Radamès returns victorious and the troops march into the city (Chorus, Ramfis: "Gloria all'Egitto, ad Iside" / Glory to Egypt, to Isis!).

The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Ethiopian captives are led onstage in chains, Amonasro among them. 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, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but Ramfis and the Egyptian priests call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: "Che veggo! .. Egli? .. Mio padre! .. Anch'io pugnai .. Struggi, o Re, queste ciurme feroci" / What do I see?.. Is it he? My father? .. Destroy, O King, these ferocious creatures).

Claiming the reward promised by the King of Egypt, Radamès pleads with him to spare the lives of the prisoners and to set them free. The King grants Radamès' wish, and declares that he (Radamès) will be his (the King's) successor and will marry the King's daughter (Amneris). (Aida, Amneris, Radamès, Ramfis, The King, Amonasro, chorus: "O Re: pei sacri Numi! .. Gloria all'Egitto" / O King, by the sacred gods ... Glory to Egypt!). At Ramfis' suggestion to the King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.

Act 3

On the banks of the Nile, near the Temple of Isis

Prayers are said (Chorus, High Priestess, Ramfis, Amneris: "O tu che sei d'Osiride" / O thou who to Osiris art) on the eve of Amneris and Radamès' wedding in the Temple of Isis. Outside, Aida waits to meet with Radamès as they had planned (Aida: "Qui Radamès verra .. O patria mia" / Oh, my dear country!).

Amonasro appears and orders Aida to find out the location of the Egyptian army from Radamès. Aida, torn between her love for Radamès and her loyalty to her native land and to her father, reluctantly agrees. (Aida, Amonasro: "Ciel, mio padre! .. Rivedrai le foreste imbalsamate" / Once again shalt thou gaze). When Radamès arrives, Amonasro hides behind a rock and listens to their conversation.

Radamès affirms that he will marry Aida ("Pur ti riveggo, mia dolce Aida .. Nel fiero anelito"; "Fuggiam gli ardori inospiti .. Là, tra foreste vergini" / I see you again, my sweet Aida!), and Aida convinces him to flee to the desert with her.

In order to make their escape easier, Radamès proposes that they use a safe route without any fear of discovery and reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radamès realizes, to his extreme dismay, that he has unwittingly revealed a crucial military secret to the enemy. At the same time, Amneris and Ramfis leave the temple and, seeing Radamès in conference with the enemy, call for the imperial guards. Amonasro draws a dagger, intending to kill Amneris and Ramfis before the guards can hear them, but Radamès disarms him, quickly orders him to flee with Aida, and surrenders himself to the imperial guards as Aida and Amonasro run off. The guards arrest him as a traitor.

Act 4

Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès' prison cell

Amneris desires to save Radamès ("L'aborrita rivale a me sfuggia" / My hated rival has escaped me). She calls for the guard to bring him to her.

She asks Radamès to deny the accusations, but Radamès, who does not wish to live without Aida, refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: "Già i Sacerdoti adunansi" / Already the priests are assembling).

Offstage, Ramfis recites the charges against Radamès and calls on him to defend himself, but he stands mute, and is condemned to death as a traitor. Amneris, who remains onstage, protests that he Radamès is innocent, and pleads with the priests to show mercy. The priests sentence him to be buried alive; Amneris weeps and curses the priests as he is taken away (Judgment scene, Amneris, Ramfis, and chorus: "Ahimè! .. morir mi sento .. Radamès, e deciso il tuo fato" / Alas .. I feel death .. Radamès, your fate is decided).

Scene 2: The lower portion of the stage shows the vault in the Temple of Vulcan; the upper portion represents the temple itself

Radamès has been taken into the lower floor of the temple and sealed up in a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radamès (Radamès and Aida: "La fatal pietra sovra me si chiuse." / The fatal stone now closes over me). They accept their terrible fate (Radamès: "Morir! Si pura e bella" / To die! So pure and lovely!) and bid farewell to Earth and its sorrows. Above the vault in the temple of Vulcan, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radamès' arms as the priests, offstage, pray to the god Ftha. (Chorus, Aida, Radamès, Amneris: "Immenso Ftha" / Almighty Ptah).

Venue Info

Grosses Festspielhaus - Salzburg
Hofstallgasse 1

The plans for a Grosses Festspielhaus (Large Festival Hall), where the former archiepiscopal princely stables were located, were drawn up primarily by the architect Clemens Holzmeister; Herbert von Karajan also made many suggestions for the building project, in particular regarding the design of the theatre hall. Every effort was made and no expense spared so as to “insert” between the three-centuries-old façade of the former court stables and the Mönchsberg a theatre with an opera stage whose structure and technical equipment would still meet highest international demands after fifty years. Between autumn 1956 and the early summer of 1960, 55,000 cubic metres of rock were blasted away to create the relevant space. The building was largely financed from the state budget and as a result the Republic of Austria is the owner of the Grosses Festspielhaus.

The Grosses Festspielhaus was opened on 26 July 1960 with a festive ceremony and the performance of Der Rosenkavalier by Richard Strauss conducted by Herbert von Karajan. Even though the new stage was undoubtedly impressive in its dimensions, voices were raised even then expressing regret that it would hardly be suitable for staging operas by Mozart which require a more intimate setting. The ground plan of the auditorium is almost square, nearly 35 metres long and from the stalls as well as from the circle offers ideal acoustic conditions and sight-lines for 2,179 seats. The iron stage curtain weighs 34 tonnes and in the middle is one metre thick. The ground steel plates were created by Rudolf Hoflehner; the main curtain behind it was designed by Leo Wollner.

The décor for the concert hall was renewed in 1993 by Richard Peduzzi. Five bronze doors with handles designed by Toni Schneider-Manzell allow the public access from the Hofstallgasse. The façade is ornamented by a Latin inscription by the Benedictine monk Professor Thomas Michels (Order of St. Benedict): Sacra camenae domus concitis carmine patet quo nos attonitos numen ad auras ferat (The holy house of the muse is open for lovers of the arts, may divine power inspire us and raise us to the heights).

Mostly local materials were used for fitting out the Grosses Festspielhaus: the reinforced concrete columns in the entrance foyer were covered with the conglomerate rock removed from the wall of the Mönchsberg; the floor is made of Adnet marble. Low beam lighting in the sloping ceiling and panel dishes made of glass from Murano create a solid lighting design. Two sculptures created by Wander Bertoni in Carrara marble represent music and drama. The four large-scale paintings in the form of crosses on the theme Dreams with the Wrong Solutions, which were bought by the Austrian patron of the arts and collector Karlheinz Essl and made available on loan to the Salzburg Festival, are by the New York painter and sculptor Robert Longo (1993).

The interval hall adjoining the entrance foyer is largely based on the original ground plan of the archiepiscopal princely stables. The floor of green serpentine is new and contains mosaics of horses by Kurt Fischer. On the wall is a steel relief by Rudolf Hochlehner entitled Homage to Anton von Webern. Through the arch built by Fischer von Erlach one can look out onto the horse statue and fountain and the Schüttkasten which was acquired by the Salzburg Festival in 1987. A separate access on the left of the interval foyer leads via an escalator and steps to the underground car park for the old town centre of Salzburg.

The furnishings for a Patrons’ Lounge on the first floor of the Grosses Festspielhaus were financed by the American patrons of the arts Donald and Jeanne Kahn, who later became major sponsors of the Salzburg Festival. Since 1995 it has served as a reception area for patrons, sponsors as well as their guests and is also used for press conferences and various other functions in connection with the Salzburg Festival.