Some tenors regard Celeste Aida as Verdi’s most difficult tenor aria. The tenor voice must be able to withstand sharp trumpet sounds and keep up with the warmth of the woodwinds. He must also be confident in the high notes. The aria, another difficulty, starts unaccompanied by the orchestra. Awesome lesbian scene with Celeste Star & Jana Cova. 720p 6 min Girlfriends Films - 1.5M Views - 1080p. Malya, Aida Swinger. 720p 6 min 21Sextreme - 4.8M Views. Celeste Aida, forma divina Mistico serto di luce e fior Del mio pensiero tu sei regina Tu di mia vita sei lo splendor Il tuo bel cielo vorrei ridarti Le dolci brezze del patrio suol. Celeste Aida - The Verdi Album. Luciano Pavarotti. 5.0 out of 5 stars 2 ratings. See all 6 formats and editions Hide other formats and editions. Listen Now with Amazon Music: Celeste Aida - The Verdi Album 'Please retry' Amazon Music Unlimited: Price New from Used from MP3 Music, January 1.
Verdi’s first act aria from his Egyptian opera, ‘Celeste Aida’, is the last Italian tenor aria in the style so often used by the master and his predecessors – recitative followed by a formal aria. Verdi himself abandoned the format in his last two operas, Otello and Falstaff, which followed Aida. Puccini’s tenor arias are much freer in their construction as are those by his contemporaries; they give up a degree of nobility in exchange for more integration into the story.
Radames is a tenor role that requires a solid spinto voice, but his famous romance also requires vocal delicacy and restraint especially at its closing lines. The last page of the vocal score is below – note how many Ps Verdi tosses at the singer and then marks the final high B flat morendo (slowly dying away). This is beyond the capacity of even the most accomplished tenors.
Here are 10 versions of the aria presented more or less in chronological order. At the bottom of this piece are the words followed by an English translation.
Here are 10 versions of the aria presented more or less in chronological order. At the bottom of this piece are the words followed by an English translation.
Aida was central to Enrico Caruso’s career. He sang the opera 91 times at the Met. His timbre was perfect for the role. He throws ‘morendo’ in the trash can and belts out the final B flat. Caruso Celeste Aida
Max Lorenz was the preeminent Wagner tenor (after Melchior) of the first half of the last century. He sings the aria in German. His steely sound is not as round as Caruso’s and the forte B flat is forced. Lorenz Celeste Aida
Beniamino Gigli was a great lyric tenor. He did not have the ideal voice for Radames. He sang the role twice in his last season at the Met (1938-89). The second of these was a broadcast with Zinka Milanov in the title role. Gigli’s voice is pushed to its limit and beyond in this recording. Gigli Celeste Aida
The great Danish tenor Helge Rosvaenge also sings the aria in German. He comes very close to singing the music the way Verdi intended. An outstanding performance. Rosvaenge Celeste Aida
Galliano Masini was one of Italy’s most prominent tenors in the 1930s. He sang only 9 times (two as Radames) at the Met during the 1938-39 season. Doubtless, World War II precluded further appearances with the New York company. His is another full blast interpretation. Masini Celeste Aida
Richard Tucker didn’t get around to Radames until he was past 50, at least in a staged production. He has all the resonance and trumpet power needed for the role, but he makes no attempt to sing the last phrase as written. Tucker Celeste Aida
Mario Lanza is 20th century opera’s saddest story. His stage career was consumed by the movies. The cause of his premature death is still a mystery. His interpretation of the aria is well done, but the recording suggests that his voice might have been a tad light for Radames. Lanza Celeste Aida
Franco Corelli had enough voice for Radames and his whole army. He typically roared out the final high note, but on this recording he sings the note forte and then takes a diminuendo on the B flat – a stunning effect. Some have attributed this feat to the recording engineer, but I think this an unfair accusation. Corelli was capable of such an effect when the spirit so moved. It just didn’t nudge him in the direction of soft very often. Corelli Celeste Aida
Placido Domingo had the ideal voice for Radames – no notes above B flat, which was the sweet spot for his tenor. He sang the role 14 times at the Met. I heard him in the performance of September 28, 1989 when the scenery caught fire in the 4th act. The show continued as a stagehand with a fire extinguisher crept onstage and put out the blaze. I remember little else of that evening. Domingo’s solution to the aria’s difficult ending is to use the Toscanini conclusion. The maestro apparently had Verdi’s blessing to allow the tenor to sing the climactic B flat forte and then to drop down an octave and end the aria softly. Domingo Celeste Aida
Jonas Kaufmann is the only tenor presented here who is still active (Domingo is no longer a tenor). He’s also the only one who observes all of Verdi’s dynamic markings. A bravura performance. A spinto with soul. Kaufmann Celeste Aida
Se quel guerrier
Io fossi! se il mio sogno
S’avverasse!… Un esercito di prodi
Da me guidato… e la vittoria… e il plauso
Di Menfi tutta! E a te, mia dolce Aida,
Tornar di lauri cinto…
Dirti: per te ho pugnato, per to ho vinto!
Io fossi! se il mio sogno
S’avverasse!… Un esercito di prodi
Da me guidato… e la vittoria… e il plauso
Di Menfi tutta! E a te, mia dolce Aida,
Tornar di lauri cinto…
Dirti: per te ho pugnato, per to ho vinto!
Celeste Aida, forma divina.
Mistico serto di luce e fior,
Del mio pensiero tu sei regina,
Tu di mia vita sei lo splendor.
Il tuo bel cielo vorrei redarti,
Le dolci brezze del patrio suol;
Un regal serta sul crin posarti,
Ergerti un trono vicino al sol.
Mistico serto di luce e fior,
Del mio pensiero tu sei regina,
Tu di mia vita sei lo splendor.
Il tuo bel cielo vorrei redarti,
Le dolci brezze del patrio suol;
Un regal serta sul crin posarti,
Ergerti un trono vicino al sol.
If only I were that warrior!
If only my dream might come true!
An army of brave men with me as their leader
And victory and the applause of all Memphis!
And to you, my sweet Aida,
To return crowned with laurels,
To tell you: for you, I have fought,
For you, I have conquered!
If only my dream might come true!
An army of brave men with me as their leader
And victory and the applause of all Memphis!
And to you, my sweet Aida,
To return crowned with laurels,
To tell you: for you, I have fought,
For you, I have conquered!
Heavenly Aida, divine form,
Mystical garland of light and flowers,
You are queen of my thoughts,
You are the splendor of my life.
I want to give you back your beautiful sky,
The sweet breezes of your native land,
To place a royal garland on your hair,
To raise you a throne next to the sun.
Mystical garland of light and flowers,
You are queen of my thoughts,
You are the splendor of my life.
I want to give you back your beautiful sky,
The sweet breezes of your native land,
To place a royal garland on your hair,
To raise you a throne next to the sun.
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From Simple English Wikipedia, the free encyclopedia
Aida | |
---|---|
by Giuseppe Verdi | |
Genre | Opera in 4 acts |
Librettist | Antonio Ghislanzoni |
Language | Italian |
Premiere | Khedivial Opera House Cairo December 24, 1871 |
Other |
Aida (or, Aïda) is an Italian opera in four acts. The music was written by Giuseppe Verdi. The libretto (story and words) was written by Antonio Ghislanzoni. The opera is based on a story written by the FrenchEgyptologist Auguste Mariette. Aida was first performed at the Opera House in Cairo on December 24, 1871. This production starred Antonietta Anastasi-Pozzoni as Aida, Pietro Mongini as Radames, Eleonora Grossi as Amneris, and Francesco Seller as Amonasro.[1]
Aida (pronounced 'ah-EE-dah') is the name of the main female character in the opera. It is an Arabic girl's name meaning 'visitor' or 'returning'.
BackgroundΣ[change | change source]
In 1865, Verdi wrote Don Carlos for the Paris Opéra. The libretto for this opera was written by two young men, one of whom (Camille du Locle) would be instrumental in bringing Aida into the world.[2]
Verdi had become increasingly dissatisfied with librettos during the 1860s. Du Locle sent him many librettos, both comic and tragic. None of these pleased Verdi. Du Locle sent him a sketch by Auguste Mariette of an invented story with an Egyptian theme.[1]
In 1869, someone (possibly du Locle) asked Verdi to write an opera for a distant land. Verdi refused; he could not find a suitable plot. In early 1870, du Locle asked Verdi to accept the proposal made the previous winter. This opera was commissioned by the Khedive of Egypt who wanted to celebrate the construction of a new theater in Cairo that had been built in honor of the Suez Canal. Verdi refused. Du Locle continued to make suggestions for operatic treatment. Only one interested Verdi. This was an Egyptian sketch by Auguste Mariette, a French Egyptologist. Du Locle turned the sketch into French prose. Verdi asked his publisher for an Italian librettist and Antonio Ghislanzoni was chosen.
Story[change | change source]
- Place: Ancient Egypt
- Time: Unspecified, days of the Pharoahs
The Egyptians are at war with the Ethiopians. Aida is an Ethiopian who has been captured and made slave to Amneris, the daughter of the King of Egypt. Aida is the daughter of Amonasro, the King of Ethiopia. The Egyptians are unaware of this. Amonasro plans to invade Egypt to free his daughter. In the meantime, Aida and Radames, a young Egyptian soldier, have fallen in love. The jealous and suspicious Amneris loves Radames, too. She senses that he loves another, but she does not know it is Aida.
Act 1[change | change source]
Scene 1: A hall in the palace of the King of Egypt in Memphis.
Radames hopes to lead the Egyptian army against the invading Ethiopians. Ramfis, the high priest, tells him that the gods have chosen the leader of the army. Ramfis leaves to tell the King of the gods' choice. Radames would like to be made the head of the Egyptian army. He wants this, not just to receive military glory, but because he hopes it will enable him to marry Aida. He sings of his love in 'Celeste Aida' ('Divine Aida').
Amneris enters. She is in love with Radames. She would like him to be a military hero. She is worried that he is in love with someone else. She notices how he looks disturbed when Aida comes in and wonders whether she is the girl Radames loves.
Set design by Philippe Chaperon for Act I Scene 2, (Cairo, 1871)
Celeste Aida Verdi
The King, the High Priest, Ramfis, and the whole palace court enter. A messenger announces that the Ethiopians, led by King Amonasro, are marching towards Thebes. The King says that the Egyptians must fight the Ethiopians. He makes Radames leader of the army. The crowd leaves for the Temple of Vulcan where Radames will be consecrated to his task.
![Celeste aida music Celeste aida music](https://www.celebrity-slips.com/wp-content/uploads/2016/01/jennifer-lopez-tits-cleavage-residency-after-party-02-768x1203.jpg)
Aida, too, wants Radames to be a hero. Left alone, she calls out, 'Ritorna Vincitor' ('Return the victor'). She is ashamed that her love for Radames conflicts with her love for her father and her people. She begs the gods to have pity on her, 'Numi, pieta del mio soffrir!' ('Gods, pity my suffering!')
Scene 2: Inside the Temple of Vulcan
In the dark halls of the temple of Vulcan, sacred weapons are given to Radames. All pray for his coming trials and for his victory in battle. The priestesses perform a sacred dance. The solemnity of the scene is in sharp contrast to the emotional scenes that have preceded and follow it. As the scene ends, Radames joins the priests in other rituals.
Act 2[change | change source]
Amneris, costume design for the La Scala premiere (1872)
Scene 1: The chamber of Amneris
Act 2 takes place two years later. Ramades and the Egyptian army have won their battle against the Ethiopians. Dances take place to celebrate the victory. Amneris wants to find out whether Aida and Radames really do love one another. She talks to Aida. She pretends to be sorry that the Ethiopians (Aida’s people) have lost their battle. Aida says she cannot be happy until she knows what has happened to her father and brothers. Amneris now tells Aida a lie. She tells her that Radames has been killed. When Aida breaks down in tears, Amneris tells her that it was not true, and that Radames is alive. Aida is relieved to hear this. Amneris is now angry. She tells Aida that she knows she and Radames are in love. She tells her that she herself also loves him. She threatens Aida, telling her that she, Aida, will crawl in the dust while she, Amneris, is made queen.
Celeste Aida Meaning
Scene 2: The grand gate of the city of Thebes
Radames and the Egyptian army march into the city to celebrate their victory. The Ethiopians who have been captured are brought before the crowd. One of them is the Ethiopian king, Amonasro, father of Aida, although the Egyptians do not know who he is. Aida rushes to her father. She explains to the crowd that Amonasro is her father. Amonasro tells the Egyptians a lie: he says that the Ethiopian king (he himself, of course) has been killed in battle. Aida, Amonasro and the captured Ethiopians all plead with the Egyptian King to save them, but the Egyptians want them to be put to death. Radames pleads with the king to spare Aida and Amonasro. The King rewards Radames by saying he can be King of Egypt and that he can marry his daughter, Amneris.
Aida and Amonasro remain as hostages to make sure that the Ethiopians do not take revenge for their defeat.
Act 3[change | change source]
Teresa Stolz, the first European Aida, 1872
On the banks of the Nile, near the Temple of Isis
As Amneris goes to pray before her wedding, the priests chant prayers. Aida wonders why Radames wants to meet her. Amonasro goes to Aida and tells her she must find out from her lover, Radames, which way the Egyptian army are going to march to fight the Ethiopians. Aida refuses to do this at first, but her father says that, if she doesn’t and her people are killed, it will be her fault. She changes her mind.
When Radames comes she suggests to him that they flee together. Radames refuses at first, but Aida manages to persuade him. He tells her the route the army are going to take. Amonasro, who has been listening secretly, then comes out of hiding and reveals that he is the King of Ethiopia. Radames feels he has betrayed his country because he revealed a military secret. He refuses to flee with Aida and her father. The guards capture him.
Act 4[change | change source]
Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radames' prison cell
Amneris asks to see Radames. Radames refuses to defend himself. He is relieved to hear Aida is still alive and that she hopes to get back to her own country. Amneris does not like to hear him say this. Radames is tried before the court. He refuses to defend himself, and he is sentenced to death.
Scene 2: The Vault in the Temple
Celeste Aida Aria
Amneris wants to try to save Radames, who is a prisoner in a dark vault. Radames thinks he is alone. He is astonished and unbelievably happy when he finds Aida there. She had hidden herself in the vault. She tells him that she wants to die with him. That is their fate. As Amneris prays, Aida dies in Radames' arms. THE END
Roles[change | change source]
Role | Voice type | Premiere Cast, 24 December 1871. Conductor: Giovanni Bottesini | European premiere 8 February 1872. Conductor: Franco Faccio |
---|---|---|---|
Aida, an Ethiopian princess | soprano | Antonietta Anastasi-Pozzoni | Teresa Stolz |
The King of Egypt | bass | Tommaso Costa | Paride Pavoleri |
Amneris, daughter of the King | mezzo-soprano | Eleonora Grossi | Maria Waldmann |
Radames, Captain of the Guard | tenor | Pietro Mongini | Giuseppe Fancelli |
Amonasro, King of Ethiopia | baritone | Francesco Steller | Francesco Pandolfini |
Ramfis, high Priest | bass | Paolo Medini | Ormando Maini |
A messenger | tenor | Luigi Stecchi-Bottardi | Luigi Vistarini |
Voice of a Priestess | soprano | Marietta Allievi | |
Priests, priestesses, ministers, captains, soldiers, officials, Ethiopians, slaves and prisoners, Egyptians, animals and chorus |
The Music[change | change source]
The music of the opera is excellent all the way through. There are quiet songs of incredible beauty as well as big chorus numbers. The music is all famous, but among the most well-known parts are the aria that Radames sings near the beginning of act One in which he dreams of victory in battle and marrying Aida, the Ethiopian slave. The song is called Celeste Aida ('Heavenly Aïda'). The Chorus in Scene ii of Act II, Gloria all'Egitto, ad Iside ('Glory to Egypt, to Isis!') is one of the most famous marches ever written.
Adaptations[change | change source]
The opera has been adapted for movies several times, e.g. in a film made in 1953 starring Lois Maxwell and Sophia Loren, and a Swedish production in 1987.
In 1998, the opera was turned into a Broadway musical with music by Elton John.
Notes[change | change source]
- ↑ 1.01.1Sadie 2006, p. 9. sfn error: no target: CITEREFSadie2006 (help)
- ↑Bleiler 1962, p. 26. sfn error: no target: CITEREFBleiler1962 (help)
References[change | change source]
- Ghislanzoni, Antonio; Bleiler (Trans.), Ellen (1962). Aida. Dover Opera Guide and Libretto Series. New York: Dover Publications, Inc. ISBN0-486-20405-7.
- Ghislanzoni, Antonio; John (Ed.), Nicholas (1980). Aida. English National Opera Guides. London: John Calder / New York: Riverrun Press. ISBN0-7145-3770-5.CS1 maint: extra text: authors list (link)
- Holden (Ed.), Amanda (2001). The New Penguin Opera Guide. Penguin Books. ISBN0-140-514-759.CS1 maint: extra text: authors list (link)
- Harewood, George Henry Hubert Lascelles, Earl of (1989). Kobbé's Illustrated Opera Book. New York: G. P. Putnam's Sons.
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