AIDA - Study Guide 2019-2020 Season - Virginia Opera
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AIDA
BY GIUSEPPE VERDI
Study Guide
2019-2020 Season
EDUCATION@VAOPERA.ORG
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PLEASE JOIN US IN THANKING OUR GENEROUS SEASON SPONSORS!
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Table of Contents
Thank you to our Generous Season Sponsors………………… 2
Cast Characters/Brief Summary……………………………….. 4
Full Plot Synopsis and Musical Highlights.……...…………..... 5
Historical Background....................................................... 14
About the Composer: The Life of Verdi............................ 16
Operas by Verdi…………………………………………………………. 17
New to Opera? Bringing a Student Group?
Additional Resources:
Preface & Objectives……………………………………………….. 18
What is Opera Anyway?…………………………………………..…….. 19
Opera in Not Alone!........................................................... 19
Opera Terms……………………………………………................ 20
Where Did Opera Come From? ………………………………. 21
Why Do Opera Singers Sound Like That?........................... 22
How Can I Become an Opera Singer?................................. 22
Opera Singer Must-Haves……………………………………..... 23
How to Make an Opera………………………………………..... 24
Jobs in Opera………………………………………………………….. 25
Opera Etiquette……………………………………………….......... 26
Discussion Questions……………………..…………………....... 27
Education and Outreach Sponsors…………………………………... 28
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AIDA
Premiere
First performance on December 24, 1871,
at the Khedivial Opera House in Cairo, Egypt.
Cast of Characters
AIDA ......................................................................................................................... Soprano
RADAMES, Captain of the Guard ................................................................................. Tenor
AMNERIS, daughter of King of Egypt ........................................................... Mezzo Soprano
AMONASRO, King of Ethiopia, Aida’s father .......................................... ………………Baritone
KING OF EGYPT ……… ..................................................................................................... Bass
RAMFIS, Chief Priest…………………..…………………….……… ................................................. Bass
THE HIGH PRIESTESS………………………………………. ..................................................... Soprano
MESSENGER………………………………………………………. ...................................................... Tenor
Priests, priestesses, soldiers, prisoners ................................................................. ...Chorus
Brief Summary
Egypt and Ethiopia are at war. Aida was captured and made a personal slave to
Amneris, the daughter of Egypt’s king. No one knows Aida’s father is Ethiopia’s king. Aida loves
Radames, a high-ranking Egyptian officer. Aida’s father, Amonasro, invades Egypt with his army
and Radames is sent with Egyptian forces to oppose him. Aida is torn between her love for
Radames and love for her people. Radames returns triumph with many prisoners, one of whom
is Amonasro. The King of Egypt gives Amneris’ hand in marriage to Radames as a reward for his
success.
Amonasro, keeping his identity secret, seeks out Aida for help. Learning about her love
for Radames he convinces her to trick Radames into revealing the Egyptian war plans. As Aida
and Radames discuss their plan to run away together, they are overheard by Amneris who
denounces Radames as a traitor. Aida and Amonasro escape, but Radames surrenders himself
to the High Priest. Radames refuses to defend himself and is sentenced to death. After he is
sealed in his tomb he realizes he is not alone. Aida has returned to die with him. They embrace
and say their final farewells as the remorseful Amneris prays for their souls.
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Full Plot Synopsis and Musical Highlights
Prelude
The opening music is a combination of two motifs. The first theme, appearing in the
high strings, is chromatic and is associated with the character of Aida (Ex. 1).
Ex. 1
The second, driving and forceful, is contrapuntal in style. This theme represents the priests (Ex.
2). These two motifs denote the essential conflict of the opera: that of love and duty.
Ex. 2
Act I
To the strains of the prelude motifs, The Chief Priest Ramfis confides in Radames that
the Ethiopians are again attacking Egypt and the Goddess Isis has named the commander of the
Egyptian Army. After Ramfis departs, Radames expresses the hope that he will be the one
named as the commander. He then sings of the woman he loves in the aria, “Celeste Aida”
(Heavenly Aida) (Ex. 3). The vocal line has a characteristic ascending contour, as if striving to
reach the heavens.
Ex. 3
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Aida is an Ethiopian captive who is a slave to Amneris, the daughter of Egypt’s king.
Radames is joined by Amneris who secretly loves him but is suspicious that he loves another.
Her suspicions are represented by the sinuous nature of her melodic line (Ex. 4).
Ex. 4
Their duet, “Quale insolita gioia nel suo sguardo” (What joy in your visage), turns into a
trio full of tension when Aida appears and it becomes clear to Amneris that Aida and Radames
have feelings for one another.
Musical fanfares proclaim the arrival of the King of Egypt, Chief Priest Ramfis and
courtiers. A messenger announces the news of Egypt’s invasion by the Ethiopian king
Amonasro and his army. The King states that the goddess Isis has chosen Radames to
command the army. All join in the hymn, “Su, del Nilo” (Guard the Nile) (Ex. 5).
Ex. 5
Amneris leads the crowd in crying out, “Ritorna vincitor!” (Return as victor!), before
the assemblage exits. Aida, left alone, reflects on the crowd’s words in a multi-section aria that
echoes those fateful words. Plumbing the depths of her anguish, Aida contemplates her
impossible situation. Amonasro is her father and Radames is her love. Who should be
victorious? Her soliloquy culminates with a prayer, “Numi, pieta” (Gods have pity) (Ex. 6).
Ex. 6
The final scene of Act I is the formal investiture of Radames as Commander of the Army.
The opening chorus, “Possente Ptha!” (O mighty Ptha), is led by the solo voice of the High
Priestess (Ex. 7).
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Ex. 7
The lowered second of the vocal line and harmony suggest the Phrygian mode, lending
the music an exotic color appropriate for an ancient religious rite. The use of solo harp as
accompaniment is also a proxy for an ancient stringed instrument such as the lyre or something
similar. A solemn tableau of chanting and dancing ensues as Radames is entrusted with the
sacred sword. Ramfis entrusts Radames with the protection of the country and begins the
“concertato,” (concerted finale) of the act, “Nume, custode e vindice” (Great god and avenging
power) (Ex. 8).
Ex. 8
Act II
The first scene of Act II takes place in the apartments of Amneris as she prepares for the
triumphal return of the victorious Egyptian Army. Her attendants sing of Radames’ victory, “Chi
mai fra gli inni e i plausi” (Our songs praise him) (Ex. 9), and Amneris sings a yearning response
“Ah, vieni, vieni mio amor” (Ah, come, my beloved) (Ex. 10).
Ex. 9
Ex. 10
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The sequence is repeated three times. Aida enters and Amneris sympathizes with her
feelings of loss due to the defeat of her countrymen. She also cunningly lays a trap for Aida to
reveal her true feelings for Radames. Amneris implies that Radames has been killed. Aida’s
reaction confirms Amneris’ suspicions. Aida cries out for mercy, “Pieta ti prenda del mio dolor”
(Pity my sorrow) (Ex. 11).
Ex. 11
Amneris responds without pity, “Trema, vil schiava” (Tremble, vile slave) (Ex. 12).
Ex. 12
Fanfares are heard in the distance as the two women face off, their music sharply
contrasting. With the chorus, the two women sing “Su! del Nilo al sacro lido” (At the sacred
shores of the Nile), then Amneris storms out leaving Aida with a reprise of her earlier plea to
the Gods to have pity for her suffering (See Ex. 6 above).
The chorus “Gloria al Egitto. ad Iside” (Glory to Egypt, to Isis) greets the victorious army
upon their return (Ex. 13).
Ex. 13
This great concerted scene features interludes for female singers and the contrapuntal
melodic motif of the priests as the crowd gathers to greet the victors. A great interplay of
trumpets is featured in the famous Triumphal March (Ex. 14).
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Ex. 14
The march sequence is followed by a ballet in which exotic harmonies and instrumental
colors are given a prominent role. Amneris places a laurel wreath on Radames’ head and the
King tells him he may have anything he desires. Radames asks that the captured Ethiopian
prisoners be brought in. Among them is Amonasro, Aida’s father and the king of the
Ethiopians. Seeing him, Aida calls out, “Che veggo! Egli? Mio padre! (What do I see! He? My
father!). He quickly cautions her to keep his identity secret. Amonasro leads the central section
of the scene with a lengthy narrative describing the battle and then launching into a plea for
clemency, “Ma, tu Re, tu signore possente” (But, you great King, most powerful) (Ex. 15).
Ex. 15
His voice is joined by the other Ethiopians and slaves. Over the priests’ objections
Radames asks that the prisoners be freed. The King agrees with the exception of Aida and
Amonasro, who will be kept as hostages. Then the King bestows on Radames the hand of
Amneris in marriage. The act is brought to a jubilant close with the reprise of “Gloria al Egitto,”
now in an extended form. The principal voices soar above the chorus, expressing their
emotions at this new turn of events.
Act III
A beautiful and complex blend of orchestral sounds tone-paints the moonlit banks of
the Nile. The sound of the musical note G is prolonged and supported by the resonances in the
strings and woodwinds. An off-stage chorus intones “O tu che sei d’Osiride” (You who are
Osiris). Amneris and Radames arrive to pray at the temple on the eve of their marriage. As
they enter the temple Aida’s theme is heard. Aida has arrived for a secret meeting with
Radames. As she waits for him she reflects on her homeland and sings a romanza, “O patria
mia” (O my homeland). The intense nostalgia and yearning she feels for Ethiopia is evinced by a
plaintive oboe solo throughout (Ex. 16).
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Ex. 16
Amonasro surprises his daughter and in the ensuing duet, “A te grave cagion” (To thee I
come) he directs Aida to assist in an Ethiopian uprising by learning of Egypt’s battle plans from
Radames and passing them on. Horror-stricken, she claims she cannot betray her lover. Leading
Amonasro to subject her to psychological manipulation in which, by turns, he describes rivers of
her countrymen’s blood, suggests the ghost of her mother cursing her, and finally shouting that
she is no longer his daughter. When Aida sobs in despair, Amonasro makes a final appeal to her
patriotism in one of the broadly arching melodic phrases the composer often employed in
moments of high emotion (Ex. 17).
Ex. 17
Torn between two loyalties but broken by her father’s words she agrees to betray Radames.
Amonasro hides as Radames appears. Aida and Radames embark on a lengthy duet.
The first section, “Pur ti riveggo” (Again I see thee) (Ex. 18) is quick-paced as Radames jubilantly
assures Aida of his love, although he must command his troops once again.
Ex. 18
The second section, “Fuggiam gli ardori inospiti” (Let us fly from these burning skies) is
more moderately paced as they grapple with their dilemma. In the third movement, “La tra
10foreste vergini” (There, where the virgin forests rise) (Ex. 19), Aida sings seductively of the
beauty of her homeland, describing its verdant forests and aromatic flowers in an attempt to
lure her lover into leaving Egypt behind and escaping with her to Ethiopia.
Ex. 19
The final movement of the duet is a lively, spirited cabelletta. In “Si, fuggiam da queste mura”
(Yes, let us flee these walls) (Ex. 20).
Ex. 20
Radames and Aida impulsively agree to flee together to a better place. Aida quickly asks
Radames what route they should take to avoid the Egyptian army. He replies that his army will
be positioned at the Napata Gorges. A brisk trio ensues as Amonasro triumphantly announces
his presence saying that the Gorges of Napata is where he will ambush the Egyptian Army.
Radames, reacting in horror, cries out that his honor is lost. Radames refuses to be comforted
by the words of Aida or her father. At this moment Amneris and Ramfis leave the temple and
take in the unsettled scene, realizing immediately that treachery is afoot. Amneris calls
Radames a traitor and is set upon by Amonasro who tries to kill her. Radames protects Amneris
as Aida and her father escape. Radames surrenders himself to the priests as the act is brought
to a close.
Act IV
An orchestral prelude precedes the first scene of Act IV. Amneris is alone, bitterly
regretting her denunciation of Radames. In an aria-like soliloquy she confesses that despite her
anger at his betrayal, she still loves him desperately: “L’amo, io l’amo sempre” (I love him; I
always love him”) (Ex 21).
Ex. 21
11Radames is brought to her; she pleads with him to defend himself in an extended duet, “Già i
sacerdoti adnunansi” (Already the priests are assembling) (Ex. 22).
Ex. 22
He refuses. Amneris continues, declaring her love in a moving lyrical section of the duet, “Ah! ti
dei vivere” ( Ah! Consent to live!) (Ex. 23).
Ex. 23
Radames only wishes for all to end. In the next section of the duet Amneris reveals that
Aida is still alive and did not die with her father. Radames’ reaction is exultant. Now he can
rejoice and die knowing she is safe. Amneris’ jealousy returns with a fierce intensity made even
greater by Radames’ rejection. He returns to his prison accompanied by the sound of the
priests’ theme and the cries of Amneris.
The Judgement Scene commences with the priests chanting a prayer. Radames’ trial
follows a sequence that is repeated three times. There is a triple invocation, Radames name is
announced three times, three charges are stated, three silences from Radames, three reactions
to his silences, and three responses by Amneris. First Ramfis intones a statement of Radames’
treasonous acts, followed by silence from Radames, followed by the judgement of the priests,
“Traditor!” (Traitor!), followed by a plea from Amneris for pity. Radames has been given three
chances to defend himself and he has refused to answer three times. The priests pronounce
the sentence: he is to be entombed alive below the altar of Vulcan. In an arioso Amneris begs
them for mercy, to no avail. The priests leave, muttering “traitor.” The scene ends with
Amneris crying out and cursing them in her frustration and anguish.
The final scene of the opera takes place in the tomb where Radames has been sealed.
He sings, “La fatal pietra sovra me si chiuse” (The fatal stone now closes over me) (Ex. 24).
Ex. 24
12He hears a sound and realizes he is not alone. Aware of his sentence, Aida made her
way into the tomb to die with him. Radames is both saddened and heartened by her presence.
They express themselves in a lengthy duet that has three main sections, all of which are lyrical.
The first part,“Morir! si pura e bella!” (To die so pure and lovely) (Ex. 25) expresses Radames
lamentation at his beloved’s approaching death.
Ex. 25
In the second part,“Vedi? di morte l’angelo” (See? the angel of death) (Ex. 26), Aida seems to
welcome death.
Ex. 26
The third and most intense section is “O terra addio” (Farewell O earth) (Ex. 27) in which
the doomed lovers bid farewell to the pain and sorrows of life. The upward leap of the primary
melodic phrase seems to depict the dying couple reaching for heaven and the afterlife awaiting
them.
Their voices weaken in the final phrases as their supply of air runs out. The priests
chant in the background as Amneris kneels at the altar above the tomb, praying for peace. As
silence descends on the stage, the orchestra repeats the theme of Ex. 27, growing softer until
fading away quietly.
13Historical Background
There is a widespread, but incorrect, belief that Giuseppe Verdi wrote the opera AIDA to
commemorate the opening of the Suez Canal. He was asked to write an inaugural hymn as part of
the canal’s opening festivities but declined the request. He did accept a commission from the
Khedive of Egypt for an opera to be presented at the Opera House in Cairo built for the Suez Canal
celebration. The inaugural opera presented at the new Khedivial Opera House was another Verdi
masterpiece, RIGOLETTO.
Finding suitable librettos was an ever-present
concern for Verdi as he matured as a composer.
Archival letters document his dissatisfaction with many
of the librettos presented to him during the 1860s. At
the end of the decade, he received a manuscript that
had come from a well-known Egyptologist and
archaeologist, Auguste Mariette, a Frenchman with an
extensive background in ancient Egyptian history and Metropolitan Opera Historic Broadcast: Feb. 1967
culture. Mariette had written a scenario set in the
time of the ancient pharaohs that was created with
the approval of the Khedive. This treatment interested Verdi who engaged Antonio Ghislanzoni, a
librettist with whom he had collaborated on an earlier work. Verdi himself was very involved in
the formulation of the libretto using his long experience in the theater to help shape the dialogue
and the arrangement of the scenes. Auguste Mariette designed the set and costumes for the
premiere in Cairo and used his knowledge of ancient Egypt to make the staging as authentic as
possible. It is generally considered an “Old Kingdom” setting. The sets and costumes were built in
Paris but delayed in shipment by the Franco-Prussian War and the Siege of Paris. Verdi donated
much of his earnings for this opera to help victims of the Siege.
Verdi purposefully combined two operatic styles in composing AIDA. The Italian approach,
which stressed the warmth and flexibility of the human voice combined with melodic beauty and
exuberant outpourings of emotion, was combined with the pageantry, choruses and dance of
French grand opera. The desire to fuse these two styles was a goal Verdi had pursued for some
time. Additionally, Verdi continued to build on the movement in nineteenth century opera to
more closely interweave the music and the drama. He made greater use of recurring themes
throughout the opera and heightened his use of musical color and exoticism to achieve a musical
environment that would approximate the ancient Egyptian setting. He achieved more continuity
with AIDA than any of his previous works.
Verdi did not attend the premiere in Cairo on December 24, 1871, and was dismayed that
the general public was not invited. A few weeks later, on February 8, 1872, the opera had its
premiere at La Scala Opera House in Milan, Italy. Verdi was involved in every aspect of this
performance and considered this occasion to be its true premiere. Public and critical acclaim was
immediate and AIDA was performed at all the major opera houses of the world in the months andyears that followed. This performance history has continued throughout the twentieth and
twenty-first centuries. Currently, AIDA is one of the twenty most-performed operas in North
America. The Metropolitan Opera in New York City has presented this opera more than 1100
times since it premiered in New York on November 26, 1873. Its popularity shows no signs of
abating.
AIDA has also been adapted for the big screen with movies produced in 1953 and 1987. The 1953
film starred Italian actress Sophia Loren in the title role. In 1998 the story of AIDA was used as the
basis for a successful musical written by Elton John and Tim Rice.
15ABOUT THE COMPOSER
Giuseppe Verdi was born in the small village of Le Roncole,
Italy, in 1813. His parents belonged to a middle class family of
innkeepers and his father was enthusiastic about his son's education
and chosen field. From an early age Giuseppe studied with local
teachers. He received an old spinet as a gift from his father, and was
eventually made the town's official organist. He also entered the
ginnasio (high school) to study humanities and began formal music
lessons with the director of the local Philharmonic Society. Antonio
Barezzi, a wealthy merchant and musician, recognized Verdi's
musical talent and became his patron, providing financial support
and encouragement for many years. With his aid, Verdi applied to
the Milan Conservatory, but was refused, partly because he was
past the entering age, but mostly because of his unorthodox piano technique. Instead, Verdi
became the pupil of Vincenzo Lavigna, a former principal conductor at La Scala Opera House in
Milan. Beyond this more formalized training, Verdi considered himself largely self-taught.
After completing his studies in 1835, Verdi was appointed maestro di musica in Busseto,
near his hometown of Le Roncole. He held the post for three years, during which time he also
composed, gave private lessons and married his benefactor Barezzi’s daughter. Verdi soon
wrote his first opera, Oberto, in 1839, and began a professional career marked by continual
rounds of negotiations with theaters and librettists, and intense periods of composition and
preparation for the production of his work. Soon thereafter, terrible tragedy struck with the
deaths of his wife and two very small children, causing him to nearly renounce composition
altogether. However Nabucco, his next premiere, was an unprecedented success. In what is
referred to as his "galley slave" years (1842-1853), Verdi arduously wrote sixteen operas - an
average of one every nine months. Rigoletto, Il Trovatore, and La Traviata, written near the end
of this period, soon became cornerstones of the Italian operatic repertory and are still
immensely popular today.
Verdi's accumulated wealth granted him greater artistic freedom. In the second half of
his life he would only compose eight more operas. He spent most of his time away from the
theater, now married to his companion of many years, the former soprano Giuseppina
Strepponi. In 1859 the public honored Verdi's patriotism by using his name as an acronym to
spell out Vittorio Emanuele Re D'Italia, king of the newly united independent Italy.
He was nearing the age of sixty when he produced AIDA in 1871. With AIDA, Verdi
achieved that fusion of French and Italian opera traditions that he had long desired. The death
of his friend, the great writer Alessandro Manzoni, would inspire him to write the magnificent
Messa da Requiem in 1874. After a period of general disillusionment and unhappiness, Verdi
regained the will to compose during his later years. He subsequently composed two of his
16greatest masterpieces, Otello in 1887 and Falstaff in 1893, largely due to the efforts of Arrigo
Boito, who cajoled him out of retirement by appealing to his great love of Shakespeare.
Although many of Verdi's operas had disappeared from the repertory by the time of his
death in 1901, he had nevertheless become a profound artistic symbol of Italy's achievement of
statehood. It is said that during Verdi’s funeral thousands of mourners paid homage by
spontaneously singing “Va pensiero,” a chorus from Nabucco written some sixty years earlier.
"Va pensiero" expressed the public’s deep feelings and the extent to which Verdi's music had
been assimilated into the Italian consciousness. He was, and remains, a true national hero.
Operas by Giuseppe Verdi
• Oberto, 1839
• Un giorno di regno, 1840
• Nabucodonosor, 1842
• I lombardi alla prima crociata, 1843
• Ernani, 1844
• I due Foscari, 1844
• Giovanna d'Arco, 1845
• Alzira, 1845
• Attila, 1846
• Macbeth, 1847
• I masnadieri, 1847
• Jérusalem, 1847
• Il corsaro, 1848
• La battaglia di Legnano, 1849
• Luisa Miller, 1849
• Stiffelio, 1850
• Rigoletto, 1851
• Il trovatore, 1853
• La traviata, 1853
• Les vepres siciliennes, 1855
• Simon Boccanegra, 1857
• Un ballo in maschera, 1859
• La forza del destino, 1862
• Don Carlos, 1867
• Aida, 1871
• Otello, 1887
• Falstaff, 1893
17ADDITIONAL RESOURCES
Preface
Aida was written in Italian. The Virginia Opera will perform in the original language, but an
English translation will be projected on a screen above the stage. With these Supertitles,
audiences can experience the beauty of opera in the original language, yet still understand the
meaning of all that is being sung.
Objectives
1. To understand how opera, as an art form, reflects and comments on society and the
world in which we live.
2. To develop an awareness of how the study of certain art forms such as opera can
communicate ideas of the past and present.
3. To develop a basic understanding of what opera is. Students should be able to identify
the many elements (musical, visual, and dramatic) of an opera and understand how they
work together to produce a unified, exciting, and emotional work.
4. To understand the process of adapting a story for the stage; what changes need to be
made and why. Incorporated in this objective is a basic understanding of what makes a
good opera.
5. To know the basic plot/story line of AIDA.
6. To understand how music serves as a mode of communication in opera and the effect
music has on characteristics and mood.
7. To develop some sense of appreciation for opera as a timeless art form that brings real
characters, emotions, and situations to life.
8. To understand the working relationship between words and music in an opera. Students
should understand how a composer and librettist work together to create significant,
dramatic, and unified meaning.
18WHAT IS OPERA ANYWAY?
● An opera is a musical drama or comedy where the actors sing rather than speak their
lines. Today opera singers are often referred to as “singing actors.”
● The word “opera” is the plural form of the Latin word opus, which means “a work of
art”. We use the plural form because of the many different art forms that combine to
create an operatic performance like singing, dancing, orchestral music, visual arts,
acting, and more.
● An opera tells a story. It can come from many sources, including history, current events,
religious texts, fairy tales, legends, literature, poetry, and mythology. Opera can be
funny, scary, sad, dramatic, mysterious, imaginary, or a combination of all these things.
Opera has something for everyone!
OPERA IS NOT ALONE
Opera is not the only type of classical vocal music. The other genres of classical vocal music,
which use an operatic style of singing, are:
• Oratorio
• Cantata
• Art song
• Chamber vocal music
• Orchestral song
An oratorio is a lot like an opera. It tells a story through song and is a large work comprised of
solo arias, duets, trios, ensembles, etc., all accompanied by an orchestra. Unlike opera
however, the stories for oratorios tend to stem from sacred (religious) sources, and there are
no sets, props, or costumes. The choir generally plays an important role, and there is little
interaction between the characters. A cantata is effectively a short oratorio, but it can also be
secular. For example, the famous composer Johann Sebastian Bach wrote a comic cantata
about being addicted to coffee, appropriately entitled the Coffee Cantata.
Art songs are musical settings of poems or other shorter texts for solo voice and piano that are
not part of a staged work but performed instead in a concert or recital. Folksongs, spirituals,
and other traditional songs are generally not considered art songs since they stem more from
the popular music tradition than classical; however, if a composer arranges such a traditional
song as a concert piece for voice and piano, it may be considered an art song. A group of art
songs intended to be performed together as a set is called a song cycle.
A similar work written for solo voice (or a small group of singers) and an instrument(s) other
than piano is referred to as chamber vocal music. Songs that were originally written for voice
with orchestral accompaniment are called orchestral songs.
19OPERA TERMS
Act - the main sections of a play or opera
Aria - a song sung by only one person
Bass - the lowest male singing voice
Baritone - the middle range male singing voice, between tenor and bass
Blocking - the actors’ movements on stage, determined during rehearsals by the stage director
Character - the people in a story, also called a role or part
Chorus - a group of singers who function as a unit onstage, representing townspeople, crowds, etc.
Composer - a person who writes music
Conductor - the person who leads the orchestra and is in charge of the musical interpretation of an
opera
Contralto - the lowest female voice
Costume - the clothing a singer wears to portray a character
Crew - group of people who operate behind the scenes, controlling the curtain, changing scenery,
managing props, running sound effects, and more
Duet - a song sung by 2 performers
Ensemble - a musical passage sung by multiple characters, usually occurs at pivotal points in the drama
or at the end of an act
Libretto - literally means “little book” in Italian, the words to an opera
Librettist - the person who writes the words to an opera (the libretto)
Melody - a musically satisfying sequence of single notes
Mezzo-soprano - the middle range female singing voice, between soprano and contralto
Orchestra - a group of musicians who play together on various musical instruments
Overture - the piece of music played by the orchestra at the beginning of an opera, often introduces
music that will be heard later in the opera and sets the emotional tone for the audience
Prop - an object used or brought onstage by the performers
Quartet - a song sung by 4 performers
Recitative - words that are sung in the rhythm of natural speech, similar to rap, and propel the story’s
action forward
Rehearsal - time when performers practice before a show, either with piano or the full orchestra
Scene - segment of action within an act
Score - written form of a musical composition, containing all instrumental and voice parts as well as any
words
Set - the scenery on stage which indicates where the action takes place
Solo - only one voice singing at a time
Soprano - the highest female voice
Stage Director - the person who tells the performers where and how to move on stage and who
determines the story’s interpretation and overall look or concept
Supertitles - the meaning, in English, of the words in an opera projected on a small screen above the
stage
Tempo - the speed at which music is performed
Tenor - the highest male voice
Trio - a song sung by 3 performers
Vibrato - a naturally pulsating tone that wavers from slightly above to slightly below the actual musical
pitch and has a rich, emotional quality
20WHERE DID OPERA COME FROM?
Opera as an art form began with the inclusion of incidental music that was performed during
the tragedies and comedies popular during ancient Greek times. The tradition of including
music as an integral part of theatrical activities expanded in the Roman Empire and continued
throughout the Middle Ages. Surviving examples of liturgical dramas and vernacular plays from
the Medieval times show the use of music as an insignificant part of the action as do the vast
mystery and morality plays of the 15th and 16th centuries.
Traditional view holds that the first completely sung musical drama (now recognized as opera)
developed as a result of discussions held in Florence in the 1570s. An informal group of men,
known as the Florentine Camerata, routinely got together to talk about music and the arts, and
their meetings led to the musical setting of Rinuccini’s drama, Dafne, by composer Jacopo Peri
in 1597. The work of such early Italian masters as Giulio Caccini and Claudio Monteverdi led to
the development of a through-composed musical entertainment comprised of recitative
sections which revealed the plot of the drama, followed by da capo arias which provided the
soloist an opportunity to develop the emotions of the character. The function of the chorus in
these early works mirrored the choruses found in Greek drama.
The new musical “form” was greeted favorably by the public and quickly became a popular
source of entertainment. Opera has since flourished throughout the world as a vehicle for the
expression of the full range of human emotions.
Italians claim the art form as their own, retaining dominance in the field through the death of
famed composer Giacomo Puccini in 1924. Other Italian composers Rossini, Bellini, Donizetti,
Verdi, and Leoncavallo developed the art form through clearly defined periods that produced
opera buffa, opera seria, bel canto, and verismo. The Austrian composer Mozart also wrote
operas in Italian and championed the singspiel (sing play), which combined the spoken word
with music, a form also used by Beethoven in his only opera, Fidelio. Bizet (Carmen), Offenbach
(Les Contes d’Hoffmann), Gounod (Faust), and Meyerbeer (Les Huguenots) led adaptations by
the French which ranged from opera comique to the grand, full-scale tragedie lyrique. German
composers von Weber (Der Freischütz), Richard Strauss (Ariadne auf Naxos), and Wagner (Der
Ring des Nibelungen) developed diverse forms from singspiel to through-composed spectacles
unified through the use of the leitmotif. The English ballad opera, Spanish zarzuela, and
Viennese operetta helped further establish opera as a form of entertainment throughout the
world.
With the beginning of the 20th century, composers in America diverged from European
traditions in order to focus on their own roots while exploring and developing the vast body of
the country’s folk music and legends. Composers such as Aaron Copland, Douglas Moore,
Carlisle Floyd, Howard Hanson, and Robert Ward have all crafted operas that have been
presented throughout the world to great success. Today, composers John Adams, Philip Glass,
John Corigliano, and Ricky Ian Gordon enjoy success both at home and abroad and are credited
with the infusion of new life into an aging art form, which continues to evolve even as it
approaches its fifth century.
21WHY DO OPERA SINGERS SOUND LIKE THAT?
Singing in an opera is completely different from singing popular music, or what you hear on the
radio. The style of singing in classical music developed along with the operatic art form, so
people have been singing this way for hundreds of years. Some characteristics of a classical, or
operatic, voice are:
● A large range (the ability to sing extremely high as well as extremely low)
● Breath control to sustain long musical phrases
● Strong resonance that projects over a full orchestra and into a large space without
amplification
● Varying levels of volume (the ability to sing both loudly and softly)
When a singer uses the above techniques most effectively, a natural “vibrato” occurs. This is
the slight alteration of pitch that you hear when a singer sustains a note. It is caused by air
(breath) passing through our voice box, or larynx, and generating vibration of the vocal folds, or
cords, to create pitch. Therefore, even the straightest sound, if produced in a healthy way, still
has some vibrato in it.
For opera singers, vibrato serves several purposes, helping the voice stay in tune and carry over
the orchestra as well as warming it up to sound more human, emotional, and visceral. String
players liked the sound of vibrato so much that, in the 16th century, they adopted the
technique as well.
HOW CAN I BECOME AN OPERA SINGER?
Is a singer “born” with natural talent or are their voices “trained”? Most voice professionals
agree that, while innate talent must be present, most of what makes an operatic voice is
learned through rigorous and on-going training. Each singer’s career path is different, but for
many opera singers, it looks like this:
1. Begin learning general musicianship, often at a young age through piano lessons, choir,
band, or other musical experience. Some singers might take private voice lessons as
well.
2. Study music, vocal performance in particular, at the university level and earn a
Bachelor’s of Music degree.
3. Continue studying intensely in graduate school, earning a Master’s of Music degree.
4. Begin working as a Young Artist (sometimes called Emerging Artist), the intern of the
opera world, singing in outreach programs, opera choruses, covering lead roles,
performing smaller supporting roles, and anything else that offers experience.
a. Some singers go back to school at this point to earn their Doctorate of
Music degree. With that, they can teach at the university level and/or
continue their performing careers.
5. Transition from performing as a Young Artist to the Mainstage, singing leading or
mainstage supporting roles.
However, it takes a lot more than just an excellent voice to become an opera singer!
22OPERA SINGER MUST-HAVES
ACTING: Opera singers must become highly skilled actors in order to accurately portray their characters,
sometimes even studying dance in order to have the best command of a stage.
STAMINA/ENDURANCE: Although few singers ever have to sing throughout an entire opera, many
operas require main characters to be on stage for a substantial percentage of the show. Most operas
last between 2 and 3 hours, with the longest being over 5 (Die Meistersinger von Nürnberg by Wagner),
so that’s a lot of singing, especially for the leads!
VOCAL AGILITY: Classical voices are often characterized as “lyric” or “coloratura”. Lyric voices possess a
warmer tone that sounds best when singing longer, sustained, melodious phrases. Coloratura refers to
fast, often high-pitched, elaborate singing involving trills, runs, and leaps, so a coloratura voice performs
such vocal pyrotechnics with ease. However, all voices should have a considerable amount of vocal
flexibility and agility in order to stay healthy.
PHYSICALITY: Physical appearance is increasingly important for opera singers today. Many opera
companies are filming their productions and broadcasting on television and in cinemas, so singers must
do even more to physically represent their characters.
HEALTH: Because opera singers’ instruments are their bodies, it is imperative for singers to stay healthy.
Many opera singers exercise regularly and eat nutritious diets, even when traveling, to keep from
becoming ill and having to cancel a performance.
LANGUAGES: Operas are performed across the world in all different languages, from Italian which
originated the art form to English, Spanish, Russian, even Tagalog (the language spoken in the
Philippines). Many singers are bi- or multi-lingual, and even if they are not fluent in more than their
native language, they must learn to at least pronounce a variety of other languages. In formal classical
schooling, English-speaking singers must take classes in French, Italian, and German at the minimum.
GOOD MEMORY: Opera singers have to be able to memorize hours of music in foreign languages (and of
course know what each word means!), and the hundreds of moves as each opera is staged. Experienced
singers memorize not just their parts, but those of others they are on stage with, so they can continue
unaffected by someone else’s error.
BUSINESS SKILLS: Singers are paid only when they perform, so they have to learn how to plan and
budget carefully so they can have enough money to live on year-round. When they are not traveling,
they may need to do additional work using other skills, such as teaching voice, singing in a paid church
choir, temping in an office, etc.
CONFIDENCE & STABILITY: Singers travel a great deal and have to be able to leave loved ones and go
around the world alone. Opera rehearsals are often only about two weeks from “Hello” or opening
night, a very stressful situation while living in a hotel, or a patron’s home. Singers must become skilled at
navigating new cities, countries and cultures so they are comfortable everywhere and with everyone.
23HOW TO MAKE AN OPERA
First, take a playwright and mix in a librettist to fashion the dramatic script, or a libretto,
containing the words the actors sing. Next, combine text with music by introducing the
librettist to the composer who then make sure the music and words work together to express
the emotions revealed in the story. Following the completion of their work, the composer and
librettist entrust their new opera to a conductor who, with a team of assistants (repetiteurs),
assumes responsibility for the musical preparation of the work. The conductor collaborates
with a stage director (responsible for the visual component) in order to bring a performance of
the new piece to life on the stage. The stage director and conductor form the creative
spearhead for the new composition while assembling a design team which will take charge of
the actual physical production.
Set designers, lighting designers, costume designers, wig and makeup designers and even
choreographers must all be brought on board to participate in the creation of the new
production. The set designer combines the skills of both an artist and an architect using
blueprint plans to design the set which will reside on the stage, recreating the physical setting
required by the storyline. These blueprints are turned over to a team of carpenters who are
trained in the art of stage carpentry. Following the set’s construction, painters bring the set to
life with paint, following instructions from the set designers’ original plans. As the set is
assembled on stage, the lighting designer works with a team of electricians to throw light onto
both the stage and the set in an atmospheric, as well as practical, way. Using specialized
lighting instruments, colored gels, and a state of the art computer program, the designer works
with the stage director to create a lighting plot by writing lighting cues which make lighting
changes flow seamlessly during the performances.
During this production period, the costume designer, in consultation with the stage director,
has designed appropriate clothing for the singing actors to wear. These designs are fashioned
into patterns and crafted by a team of highly skilled artisans called cutters, stitchers, and
sewers. Each costume is specially made for each singer using individual measurements. The
wig and makeup designer, working with the costume designer, design and create wigs and
makeup to complement both the costume and the singer’s character as well as represent
historically accurate fashions.
As opening night approaches, rehearsals are held on the newly crafted set, combined with
backstage crew, costumes, lights, and orchestra in order to ensure a cohesive performance that
will be both dramatically and musically satisfying to the assembled audience.
24JOBS IN OPERA
The composer Richard Wagner coined the term, gesamtkunstwerk, or “total work of art”, in reference to
opera for good reason. Opera combines all forms of art—music, theatre, dance, and visual art—in one
entrancing package. That means it takes people with all kinds of talents and skills to make even one
performance possible. Here are just some of the careers you could have in the opera world.
Pre-production Careers Technical Theatre Careers
Pre-production begins with the composer and The areas of technical theatre are scenery,
librettist creating the opera, and then the lighting, props, costumes, and sound. They
producer oversees and manages its realization. work together in a production to establish the
Stage Director place, time, and overall mood of the show.
Technical Director Lighting Engineer
Producer Spotlight Operator
Composer Sound Engineer
Librettist Run/Deck Crew
Set/Scenic Designer Fly Rail Operator
Charge Artist Projection Board Operator
Paint Crew Stagehand
Carpenter
Front of House Careers
Electrician
The Front of House is the part of a performing
Costume Designer
venue that is open to the public—lobby, ticket
Lighting Designer booth, will-call window, auditorium, foyers, etc.
Sound Designer House Manager
Projection Designer Box Office Manager
Music Director Concessions Manager
Chorus Master Usher
Choreographer Ticketing Agent
Performing Careers Custodian
Opera Singer Staff/Administration Careers
Orchestra Member General Director
Conductor Artistic Administrator
Chorus Member Production
Supernumerary Human Resources
Dancer Finance
Backstage Careers Marketing
Stage Manager Development
Wardrobe Supervisor Education and Outreach
Wig/Hair Artist Audience Services
Make-up Artist Facilities
Props Master
25OPERA ETIQUETTE
(in other words, how to behave at an opera)
What to Wear
Most people like to dress up when they go to the opera because it’s part of the fun! Although
you can
pretty much wear whatever you want, an evening at the opera is usually considered to be a
special occasion. If you ever go to the Metropolitan Opera in New York City, you will find
audience members in everything from formal evening gowns (especially on opening nights) to
jeans and a nice top.
A Great Audience
Performers feed off an audience’s energy, so being a good audience member is very important,
not just at an opera but any live performance! Here are some tips for being a great audience
member:
1. Watch and listen quietly but actively.
2. Keep your cell phones and other devices out of sight
and on silent or airplane mode.
3. Be sure to finish any drinks, food, or gum before
entering the theater.
4. Stay in your seat until the lights come on, indicating
an intermission or the end of the show.
5. Show your appreciation for the performers by
applauding at the best moments, for example:
a. When the conductor takes the podium right
before the first music starts,
b. After an aria,
c. At the end of a scene,
d. At the end of each act,
e. During the bows at the end of the show,
f. When everyone else is clapping.
BRAVO!
At many opera houses, it is considered rude to whistle. Instead, to show appreciation for a
singer, it is tradition to shout, “Bravo!” This is a fun, easy-to-remember Italian word which
means, “Great job!” or “Well done!” Be sure you say, “Brava!” for a woman performer and
“Bravi!” for a group. If you really enjoyed the performance, you can also say, “Bravissimo!”
(bravissima for women, bravissimi for a group), which means “Really well done!
26Discussion Questions
1. Discuss the contrast between the two female leading roles – AIDA and AMNERIS. How are
they different as characters? How does the music they sing differ?
2. AIDA’s signature music is lyrical and introspective. How does this musical treatment help
define her character?
3. Discuss the contrast between two male leading roles – RADAMES and AMONASRO. How do
their voice parts contribute to their musical characterization?
4. Does AMONASRO care for AIDA as a daughter? How does he treat her?
5. How does AIDA deal with her sense of loyalty or duty to her country? How does her love for
RADAMES complicate her feelings?
6. Verdi gives AIDA an important aria to express the conflict she feels. What is this aria?
(Ritorna Vincitor) What emotions does AIDA express in this aria?
7. AIDA is an opera of many duets. What is the significance of the duet being the central
musical expression? How does that support the underlying themes of the opera?
8. Discuss Verdi’s use of musical imagery – for example, how did Verdi create the sound of
water flowing? What river was he describing?
9. Aida is the heroine but Amneris has been described as the more interesting character. Do
you agree? Why?
10. If Amneris is the more interesting character, how does her music support this premise?
11. How does Radames demonstrate his personal character and sense of honor?
12. At the end of the Judgement Scene Amneris blames her jealousy for the outcome. What is
the outcome and how did her jealous nature contribute to the tragedy?
13. The themes of loyalty and duty are prominent in the opera. Which characters are most
affected by these themes and how?
14. The opera’s Prelude juxtaposes two musical themes important in Aida. Can you identify
which characters are represented in the Prelude music? How would you describe these
musical themes? (AIDA and the PRIESTS)
15. Discuss Verdi’s extensive use of local color. How would you describe “local color” in musical
terms? Does Verdi achieve a sound that would represent Ancient Egypt? In what scenes do
we find the most examples of “local color”?
16. What are some of the underlying themes of the opera? Are they character-driven or event-
driven? (Loyalty to country, loyalty to family) (Duty to one’s country/duty to one’s parent)
(Honor – living by a set of principles) (Sacrifice - putting another’s interests before your
own) (Jealousy) (Vulnerability)
27Please join us in thanking the generous sponsors of
Virginia Opera’s Education and Outreach activities:
Bath County Arts Association
Chesapeake Fine Arts Commission
Chesterfield County
City of Norfolk
CultureWorks
Dominion Energy
Franklin-Southampton Charities
Fredericksburg Festival for the Performing Arts
Herndon Foundation
Henrico Education Fund
National Endowment for the Arts
Newport News Arts Commission
Northern Piedmont Community Foundation
Portsmouth Museum and Fine Arts Commission
R.E.B. Foundation
Richard S. Reynolds Foundation
The School Board of the City of Virginia Beach
Suffolk Fine Arts Commission
Virginia Commission for the Arts
Wells Fargo Foundation
Williamsburg Area Arts Commission
York County Arts Commission
Virginia Opera extends sincere thanks to the Woodlands Retirement Community (Fairfax, VA) as
the inaugural donor to Virginia Opera’s newest funding initiative, Adopt-A-School, by which
corporate, foundation, group and individual donors can help share the magic and beauty of live
opera with underserved children.
For more information, contact Cecelia Schieve at cecelia.schieve@vaopera.org.
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