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.
Celeste Aida (“Heavenly Aida”) is Radamès’s romanza at the beginning of Act I. Ramfis, the high priest of Egypt, informs him that war is likely with the Ethiopians and that Isis has declared who will lead Egypt’s armies. The priest then leaves to deliver the commandment of Isis to the king. Radamès, in the opening recitative accompanied by militant trumpet calls, dreams of leading Egypt’s armies to victory over the Ethiopians and returning “crowned with laurels” to Aida, an enslaved Ethiopian girl with whom he is secretly in love. Unknown to Radamès, however, Aida is the daughter of Amonasro, king of the Ethiopians, who has invaded Egypt to rescue her. Following the recitative, Radamès then sings of Aida’s beauty, comparing her to a “divine form” with the opening words Celeste Aida, forma divina; then to a queen with Del mio pensiero to sei regina (“You are queen of my thoughts”). Joseph DuBose
Classical Music | Tenor
Giuseppe Verdi
Celeste Aida, from Aida Play
Recorded on 12/31/1969, uploaded on 04/09/2009
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.
Celeste Aida (“Heavenly Aida”) is Radamès’s romanza at the beginning of Act I. Ramfis, the high priest of Egypt, informs him that war is likely with the Ethiopians and that Isis has declared who will lead Egypt’s armies. The priest then leaves to deliver the commandment of Isis to the king. Radamès, in the opening recitative accompanied by militant trumpet calls, dreams of leading Egypt’s armies to victory over the Ethiopians and returning “crowned with laurels” to Aida, an enslaved Ethiopian girl with whom he is secretly in love. Unknown to Radamès, however, Aida is the daughter of Amonasro, king of the Ethiopians, who has invaded Egypt to rescue her. Following the recitative, Radamès then sings of Aida’s beauty, comparing her to a “divine form” with the opening words Celeste Aida, forma divina; then to a queen with Del mio pensiero to sei regina (“You are queen of my thoughts”). Joseph DuBose
More music by Giuseppe Verdi
Judgment scene, from Aida
Di quella pira, from Il Trovatore
La Traviata potpourri
Ella giammai m'amò, from Act IV of Don Carlo
Nile duet, from Aida
Esultate, from Otello
Niun mi tema, from Otello
Celeste Aida, from Aida (in Russian)
Gia nella notte densa, from Otello
Scene from Act 2, Otello
Performances by same musician(s)
Hermann's arioso ("Forgive me..."), Scene 2, The Queen of Spades
Arioso of Malkhaz, from Daisi
Amor ti vieta, from Fedora
Di quella pira, from Il Trovatore
Judgment scene, from Aida
Arioso of Abesalom, from Abesalom da Eteri
Scene from Act 1, The Queen of Spades
Guardate, pazzo son guardate, from Manon Lescaut
Mindia's aria, from Act 1 of Mindia
Vesti la giubba, from Pagliacci
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