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Aida © Teatro di San Carlo

Verdi Aida

From 19 June TO 28 June 2020
Teatro di San Carlo - Napoli
Program

Verdi : Aida

3 h Sung in : Italian
Cast
  • Conductor
    Jordi Bernàcer
  • Director
    Mauro Bolognini
  • Performers
    Aida: Carmen Giannattasio
    Aida: Hui He
    Aida: Rachele Stanisci
    Radamès: Jorge de León
    Radamès: Antonello Palombi
    Amneris: Anna Maria Chiuri
    Amneris: Nino Surguladze
    Amonasro: Claudio Sgura
    Ramfis: Giorgio Giuseppini
    Ramfis: Cristian Saitta
    Il Re: Francesco Leoni
Details on the Performance

Even if commissioned by the Egyptian viceroy to celebrate the opening of the Suez Channel in 1870, the opera was staged only the following year because of the French-Prussian war which had delayed the preparation of the sceneries and the costumes in France. The opera reflects the style of the grand opera of French tradition with an extraordinary plan, without giving up an intimate and well-outlined psychologist description of the characters. The unusual ‘Egyptian subject’, the solemnity of the protagonists, the archaic religiousness of the atmosphere offered Verdi the occasion to unify tradition and renovation and to use the experience of Don Carlos. To the popularity of Aida certainly contributed famous pages such as the “Marcia trionfale” or traditional novels like “Celeste Aida”; yet its success does not lie in the ease of the musical language, but in the high dramatic tension. In its solid and large construction, the score includes dance, chorus and the ‘local colour’, without threatening the whole musical discourse. What is striking is the ability of the composer to move, without slipping, from the great collective tableaus to the loneliness of the protagonists, by exploiting, as a connective texture, a kind of musical exoticism.

Source © Teatro San Carlo

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  • Venue Info
  • Seating Plan
  • Synopsis

Teatro di San Carlo - Napoli Location Via San Carlo, 98F - 80132 Napoli Italie

  • Venue's Capacity: 1386

The Venue's History in few words …

The "San Carlo" is the world's oldest opera house still in activity. Right from the start, in 1737, people came from far and wide to admire the theatre's excellent 42-musician orchestra, and to applaud the castratos trained at the Naples Conservatory (like the famous Farinelli), as well as divas known by their nicknames, "la Parruchierrina," or "la Bastarella," for example. And the house in itself, with its sumptuous architecture and no less than six stories of boxes, was no minor attraction: Stendhal was enchanted by the hall's charm, and Paul Klee was fascinated by what he described as this "superb, heavy, and obscure theatre."

 

In 1816, fire burned down the theatre, and Ferdinand de Bourbon reconstructed an identical building with amazing speed, for Naples, robbed of its opera house, was plunged in mourning, and threatened to not support its sovereign. Let's not forget that at that time, the reign of Domenico Barbaja (nicknamed "The Prince of Impresarios" by Alexander Dumas) had already begun brilliantly. In 1815. this Milanese ex-cafe waiter, who is often credited with the invention of whipped-cream, had had the brilliant idea of hiring Gioacchino Rossini in person as the theatre's artistic director. This exceptional LUCIA DI LAMMERMOOR for the San Carlo), while launching, in 1826, a young composer called Vincenzo Bellini. The Neapolitan stage became the place where several singers' careers were made or broken; the famous French tenor Adolphe Nourrit, for example, who considered that the applause had not been sufficient, commited suicide after a performance at the San Carlo. The composer Saverio Mercadante then won the favours of the San Carlo's notorious audience, to such an extent that Verdi at first felt ill at ease in the theatre. Only to better triumph in 1872, when he organized an entire season, and had an orchestra pit added.

 

During the twentieth century, the stars of the Scala have sometimes overshadowed those of the San Carlo, an historic rivalry that has always existed, in a country where music lovers must choose sides. But the Neapolitan stage defends itself by ever enriching, even to this day, the world's largest repertoire of works ever premiered in an opera house, while legendary singers, such as Beniamino Gigli (who performed in the theatre from 1915 to 1953), have always remained exceptionally faithful to the San Carlo audience, which also happens to be one of the warmest anyone could imagine.

Teatro di San Carlo

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Aida

This opera is recognised as one of the world's most celebrated. Composed by Verdi, this dramatic tale, pivots around a love triangle.
It reaches the depths of emotion, with great highs of love and deep lows of despair, all common components, in magnificent dramas and tragic narratives. Outstanding performances, powerful arias and lavish mise-en-scene, intertwine, transporting audiences to a space, back in time, amidst the ruins of ancient Egypt.

Mystery, intrigue, passion and pain resonate throughout scenes and this musical, known as the 'Grand Opera', leaves audiences captivated and enthralled within its rhapsody.

HISTORY
In the Egypt of the pharaohs, Ethiopian king Amonasro threats to attack Thebe and the entire Nile valley. Young captain of the guard Radamès finds himself in love with a juvenile Ethiopian slave, named Aida, whose being Amonasro’s daughter he completely ignores. Pharaoh’s daughter Amneris is in love with Radames, instead. Jealousy and passion alongside with betrayal and war will eventually lead to the death of the young slave and her beloved captain.
Act 1
High Priest Ramphis learns from Radamès that Amonasro intends to attack Thebe. Radamès, on the other hand, dreams to be appointed commander of the Egyptian army and to annihilate the Ethiopians infantry in order to be able to claim the hand of Aida, young Ethiopian Pharaoh’s daughter ‘slave. However, Amneris is in love with the young captain and gets ballistic at the idea that he has feeling for her slave, whose heart is parted between the love for her home country and that she feels for the young Egyptian.
Act 2
Amneris tricks Aida into confessing her love for Radamès. Upon triumphantly returning from Ethiopia and accompanied by festive trumpets he asks the pharaoh to pardon the prisoners, among which stands Ethiopian’s king Amonasro and his daughter Aida. Pharaoh decides to grant Radamès request and rewards him with Amneris’ hand.
Act 3
Radamès and Aida arrange to meet by the Nile’s bank but the rendezvous is discovered by Amonasro that thus becomes aware of his daughter ‘secret love. He then suggests her took advantages of the situation to wring useful information, that might be beneficial to the Ethiopian cause, out of Radames. Aida begs her beloved to flee to Ethiopia together and after agreeing he discloses details regarding the route the Egyptian army is taking. After overhearing the conversation, Amonasro gets out of his hiding place and offers the throne and his daughter’s hand to the young commander. Nevertheless, they’re all oblivious of the fact Amneris has witnessed it all and quickly runs to the High Priest that eventually manages to get Radamès arrested for betrayal, whilst Aida is let free to runaway.
Act 4
Amneris promises to spare Radamès life if he gives up his feeling for Aida but he rejects the offer and gets walled up. Amnéris is devastated and cries her heart out in the attempt to save her beloved’s life. In his tomb, the former commander falls prey of sadness and despair but suddenly finds out Aida is in the tomb as well to hold his hand on his way to death.


MAIN ROLES

Aida, Ethiopian Princess - Soprano
Radames, a brave warrior in Egypt's army - Tenor
Amneris, The Pharaoh's Daughter - Mezzo-Soprano
Amonasro, Captive of the King of Egypt - Baritone
Ramfis, The High Priest - Bass
King of Egypt and father to Amneris - Bass

Teatro di San Carlo

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