![]() They sing a duet (Radamès and Aida: ' La fatal pietra sovra me si chiuse' / ‘The fatal stone now closes over me’). She had hidden herself in the vault in order to be able to die together with him. When he is sealed up in a vault to be buried alive, he finds Aida already there. Radames refuses to listen to Amneris’s pleas to save himself from prison by denying the charges against him. Radames surrenders to arrest, refusing to flee with Aida and Amonasro. Amneris and the high prist Ramfis see Radames and Aida together. Amonasro spies on their conversation, and when he reveals himself, Radames feels betrayed. Radames meets Aida secretly and says he will marry her. Near the temple of the goddess Isis, prayers are said to bless the upcoming wedding of Radames and Amneris (' O tu che sei d'Osiride' / ‘O thou who to Osiris art’). The king agrees, but keeps Aida and Amonasro hostage. Radames pleads with his king to let the hostages go free. The Egyptians are none the wiser all they see is a father and daughter. They lie to their captors and say that the Ethiopian king was slain in the battle. Aida is cornered by Amneris and told that Radames has died she reveals her love for him and Amneris is enraged.Īida finds her father Amonasro among the enslaved Ethiopians brought back by Radames and his troops following the battle. Radames has won the battle, and the crowds celebrate. ![]() Aida feels conflicted – she loves Radames, but she is loyal to Ethiopia. The King of Egypt enters with the news that Ethiopia is invading. She notices that when Aida appears, Radames changes, and she figures out that Radames’ love interest is Aida. Radames is a commander in the Egyptian army and is in love with Aida, but also wants to be victorious on the battlefield – Aida’s father, the Ethiopiann King Amonasro, is invading Egypt in order to find and free his daughter.Īmneris is in love with Radames but knows that he loves another she can see it in his face (‘ Quale insolita gioia nel tuo sguardo’ / ‘In your looks I trace a joy unwonted’). Aida could be a Requiem in Egyptian costumes, as its final bars rise pianissimo, morendo, sempre dolcissimo, as if adorned with a halo, up to the heavens.The Ethiopian princess Aida has been captured and enslaved, but her captors do not know of her importance. They sang of heaven, but the songs were heavenly themselves, and heavenly sung”, wrote Thomas Mann in The Magic Mountain.Ĭonductor Hans von Bülow once rashly described the Messa da Requiem as an “opera in ecclesiastical garb”. The exchange of song between the two, interrupted at times by the muffled sound of the ceremonies taking place above, or harmonising with it, pierced the soul of our solitary night-watcher to its very depth, as much by reason of the circumstances as by its melodic expression. She has been waiting here in order to die with him. Yes, she has found her way to him, the beloved for whose sake he has forfeited both his honour and his life. “Tu in questa tomba?” utters the inexpressibly moving, sweet and at the same time heroic voice of Radames, in mingled horror and rapture… “The Triumphal Scene, with its blaring trumpets and its monumental grandeur, as authentic as contemporary Egyptology and the late 19th century imagination would allow, seals the tacit alliance between religion and the sword: a terrible machine to crush individuals which ultimately buries them alive in a vault. Above us, the stars will shine with a clearer brighter light. The green fields and pleasant valleys will be our nuptial bed. "In the land of my ancestors, the air is fragrant and the earth is covered with perfumed flowers.
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