Aida - the Edmonton Opera

education
– Presents –
YOUR
GUIDE TO
Aida

Overture
As CEO of Edmonton Opera I want to thank you for participating in this,
our first opera education program.
I believe music – especially opera, can add a great richness to life.
My first exposure to music came as a little girl sitting under the piano listening to my
grandmother play and sing operatic arias. I remember loving music and taking piano
lessons. I guess I persisted with those scales long enough because I have from time
to time throughout my life taught piano and of course that served as good grounding
for what was to become a career.
As for opera, it was love at first sight and sound. As a young person in former
Yugoslavia, a student could attend opera for the equivalent of 25 cents. For me it was
all magic, as I was instantly taken by this rich art form that actually brings together
several other wonderful art forms such as… music, voice, sets, costumes, drama, love
stories, lavish productions.
Now you too will have a similar educational and experiential journey by being part
of Edmonton Opera’s education program and Your Guide to Opera. We have created
a thorough curriculum, practical and engaging teaching aids and yes, the opportunity
for all to attend the dress rehearsal of an Edmonton Opera performance.
This leads me naturally enough to tell you a bit about your hometown
opera company.
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First, I want to say what a great opera city we have here. We are a professional
opera company backed by some of the greatest volunteers and corporate and civic
leaders I have ever seen. I can’t tell you how fulfilling it is to be working with people,
both staff and volunteers, who love opera and are willing to support it. Edmonton
Opera is the oldest and largest professional, year-round opera company in the Prairie
Provinces, one of 17 opera companies in Canada and the fourth largest in terms
of budget and artistic output. It is also one of five flagship arts organizations in
Edmonton.
Your Edmonton Opera will be celebrating a 50 th birthday soon and that is a real
statement about the kind of long term support Edmonton and area has for us and
as well for many of the other arts and cultural organizations in this great city.
So welcome to the wonderful world of opera. Enjoy and learn.
Sandra Gajic
CEO | Edmonton Opera

Opera Live!
Nothing beats the excitement of live opera!
For more information on how your class can attend
a dress rehearsal at special student pricing, contact
usby email at education@edmontonopera.com
or visit us online at:
www.edmontonopera.com
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Contents
Message from Director | 4
Characters | 5
Synopsis | 6–7
The Story Behind the Story | 8
Europe at the Time of Aida | 9
Piecing Together an Ancient World | 10
Kings, Pharaohs and Queens of Egypt | 11
Composer Biography | 10
Librettist & Story Creator Biographies | 11
Glossary | 12
Activity 1: Listening Guide | 14
Activity 2: Nationalism & Identity | 21
Activity 3: Improv Reader's Theatre |21
Activity 4: Poster Creation | 22
Activity 5: Facebook Character Development | 23
Activity 6: Opera Notes | 23
A special thanks to volunteer editor, Stephan Bonfield –
writer of the Aida Synopsis and Listening Guide.
New to opera?
Be sure to check out our Educator's Guide, Your Guide to Opera, available for
free download online. It is designed to supplement this guide and offers an
overview of the history of opera, activities for your class, and useful information
about attending our dress rehearsals.

Message from
the Director:
Dejan Miladinovic
The curious eyes of the 14-year-old boy followed the flickering torch carried by
the Arab guide. The corridor was narrow and steep. Even with the torch, guide
and visitors felt as if they were engulfed by thousand-year-old darkness. The boy
couldn’t believe that he was walking in the footsteps of pyramid robbers.
In the main hall of the Cairo Museum the boy watched the colossal statues
with curiosity. He hesitated for only a moment with slight fear touching his
face at the entrance into the Mummy Room. At the exit door the boy stopped
in front of the bust of Queen Nefertiti. Motionless, he stared in amazement at
such incomparable beauty.
The boy had a precious chance to visit the museum every day, week by week,
thanks to his father’s all-season engagement as a conductor with the newly founded
Cairo Symphony Orchestra. As a conductor, the father insisted that concert programs
promote serious symphonic music composed by Arabs and Copts, such as Rahim,
Khairat, El-Shawan or Greiss. So, the brother of the late Egyptian composer Greiss,
a doctor in Egyptology, became the boy’s one-month teacher, telling him stories
about ancient Egypt, its people, its customs, its Pharaohs, and its gods and deities.
The curious boy was an attentive listener and a quick learner.
One day, all three of them – the father, the Egyptologist and the curious boy –
went to the Sahara Desert to visit a newly discovered tomb, a mastaba ("house for
eternity") of a rich ancient Egyptian merchant. For the first time in his life the boy
stepped on the Sahara sands. It was an unforgettable feeling. The Egyptologist told
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the boy: “Grab a handful of sand from the spot where you left your footprint
and take it with you. This sand will always be a link with what you have
experienced and learned about ancient Egypt.”
The Egyptologist was right. The boy was enchanted forever.
When I staged Aida for the first time, memories of that teenage boy were awakened.
Although I have since enriched my knowledge about the grand mystical culture of
ancient Egypt, I have remembered in great detail all Dr. Greiss' stories. There is the
story about the final epic battle between the gods Horus and Seth, a metaphor for
the everlasting battle between good and evil. There is the fascinating battle between
the sun god Atum Ra and the monstrous snake Apophis (deification of darkness and
chaos) in the underworld, which acts as a metaphor for the ending of one day and the
beginning of the next. I’ve heard the stories about the goddess Bastet with the head of
a cat, known as “the devouring lady,” the lion-headed goddess of war Sekhmet and the
goddess Hathor, of feminine love, who has horns on her head. Above all, of course,
there’s the story about Ptah, creator of the universe.
The last words in the opera – “Immenso Ptah...” – were the initial start for my
directorial thoughts about staging Verdi’s Aida. Furthermore, the battle between
Atum Ra and Apophis is an excellent visual expression for the scene in which
the sword is consecrated. The victory of Horus over Seth is the perfect triumphal
representation of victory over Amonasro’s army. Thus, combining creative theatrical
presentation with portions of the original spectacular rituals, along with emotionally
strong personal scenes, is the proper way for reviving the spirit (Kha) of ancient
Egypt. It seems to me the parts of my boyhood memories and the corresponding parts
of Verdi's music are choosing each other by themselves.
In my directorial approach, I want to convey all my long-time intact excitements and
emotions to the spectators, so they could feel all the same as what the boy felt when he
encountered the mummified time and space of the Pharaohs.
Dejan Miladinovic
August 2012

Aida
Education Dress Rehearsal
Oct. 17 @ 11 am
Jubilee Auditorium
Aida Opera 101
Oct. 10 @ 7 pm
Art Gallery of Alberta
Ledcor Theatre
Join us for a thought provoking discussion surrounding
Aida. With special guests from the fields of music,
history, political science, and classics.
Admission is complimentary, but please
RSVP at education@edmontonopera.com
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Characters
Aida – an Ethiopian Princess (soprano)
Radamès – Captain of the Egyptian Guard (tenor)
Amneris – Daughter of the King of Egypt (mezzo-soprano)
Amonasro – King of Ethiopia, father of Aida (baritone)
Ramfis – High Priest of Egypt (bass)
Pharaoh – King of Egypt (bass)
The Priestess (soprano)
Messenger (tenor)

Synopsis
Written by Stephan Bonfield
ACT I
Egypt is again threatened by Ethiopia. An Egyptian officer, Radamès, is c hosen to
command the attack force against the Ethiopians. Left alone on stage, Radamès sings
of his love for Aida, the Ethiopian slave of Amneris, the Egyptian princess. Radamès
dreams of triumph in battle and being granted a victory prize by Pharaoh – having his
beloved Aida freed.
Amneris enters, and it is soon clear that she loves and admires Radamès. However,
when Aida follows Amneris shortly after, Amneris observes Radamès trying to conceal
his glances toward Aida. In the trio that follows, Radamès worries that Amneris may
have discovered his love for Aida – a valid concern.
Pharaoh arrives and a messenger delivers news of Ethiopia’s invasion. With Thebes
now under threat, Pharaoh and the gathered assembly cry out for war. Radamès
will lead their troops into battle and Amneris is elated. Radamès thanks the gods,
confident of victory. He is led to the temple of Vulcan to be anointed. The powerful
scene continues with the chorus of priests and citizens invoking their gods to bring
victory to Egypt and death to the Ethiopians. Amneris presents Radamès with a
staff that is blessed to ensure his victory.
Aida, now alone, is filled with self-reproach for repeating the impious words calling
for Egyptian victory. She is torn between her love for Radamès and her loyalty to
Ethiopia. If the Egyptians are defeated and her father rescues her from slavery,
Radamès may die. If Radamès is victorious, her father may be enslaved or killed
and her country destroyed.
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At the temple, priests chant hymns to their gods. Radamès receives the
consecrated armour and sword and now acts with the powers of the gods
to protect and defend Egypt.
ACT II
Egypt is victorious against the Ethiopians. Amneris is prepared for
the victory celebration by her attendants while she dreams of Radamès.
Aida enters. Amneris is suspicious about her slave’s feelings, but does not yet
know Aida’s true identity. At first, Amneris responds with genuine affection to
Aida, but then deliberately misleads her, telling her that Radamès died in battle.
Hearing this, Aida cannot hide her despair. Amneris knows she has discovered the
truth. With complete guile, Amneris contradicts the news, telling her Radamès lives.
Aida is elated, but having discovered her secret, Amneris declares herself Aida’s rival.
The Grand March accompanies the entrance of Pharaoh and the court, and a ballet
of celebration displays the treasures taken as the spoils of victory. During the Triumphal
scene, Radamès is praised as Egypt’s saviour.
As his reward, Radamès asks Pharaoh for mercy for the prisoners. One of the prisoners
is Amonasro, King of Ethiopia and Aida’s father, disguised as an officer. Recognizing
him, Aida cries out “My father!” When they embrace, he tells her quietly not to reveal
his true identity as king.
But the high priest Ramfis and the priests are indignant to Radamès’ wish. They advise
Pharaoh to sentence the prisoners to death for fear the captives will rise up and attack
Egypt again. Radamès reminds Pharaoh of his promise to free the Ethiopians; he
believes their king was killed in battle and the enemy has no hope of mounting another
attack. Ramfis suggests a compromise: free the prisoners, keeping Aida and Amonasro
as hostages. Pharaoh agrees and announces the marriage of Radamès to Amneris.
In the grandiose finale, Amneris gloats at her triumph, Aida despairs, Radamès is
tornand confused, and Amonasro, thinking his daughter is despondent at the thought
of never being free, urges her to be patient. He is still unaware of his daughter’s
love for Radamès.

Synopsis: Con't
ACT III
Amneris and Ramfis arrive at the temple to pray amid hymns for wedding preparations.
Homesick for Ethiopia, Aida appears for a secret meeting with Radamès. Meanwhile,
Amonasro has learned his daughter loves Radamès. Amonasro warns his daughter
that Amneris will destroy her. Invoking patriotism, Amonasro tells Aida that she is
obligated to help the Ethiopians defeat the Egyptians, promising she can have her
country, her throne and Radamès. Amonasro manipulates his daughter, convincing
her to learn Radamès’ tactical military secrets. When Aida refuses, Amonasro calls
her a traitor to her people, unless she relents and betrays Radamès. Aida agrees.
Radamès appears. Aida denounces him as Amneris’ husband, but Radamès swears
he only loves Aida. She argues that the only solution is to flee to Ethiopia, describing
their blissful life together. Radamès hesitates; Aida renounces him and tells him to go
to Amneris. Radamès refuses, deciding to flee with Aida. He reveals that the road along
the gorges of Napata will be safe until tomorrow, when the Egyptian armies attack
the Ethiopians at dawn. Amonasro, in hiding, hears this and reappears, announcing
he is both the presumed-dead king and Aida’s father. Upset, Radamès realizes he has
betrayed his country.
Amneris and Ramfis exit the temple, overhearing Radamès’ betrayal. They accuse him
of treachery. Radamès prevents Amonasro’s attempt on Amneris’ life, and Amonasro
and Aida flee. Guards appear and arrest Radamès.
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ACT IV
With Ethiopia defeated, Aida fears Radamès will be considered a traitor, condemned
to die by the priests. Amneris decides if Radamès renounces Aida, she will use her
power to persuade Pharaoh to pardon Radamès. Radamès, however, has accepted his
fate. He believes Aida is dead and does not care about his own life. Amneris reveals
that Aida lives and pleads with him to save his life by living for her. When Radamès
refuses Amneris, she lapses into anger and intense frustration, only underscoring her
defeat more. Radamès, oblivious, is led off to trial.
The priests intone the charges against Radamès, who enters no plea for his life.
He is sentenced to be buried alive. Amneris remains outside, cursing the priests
and crying to the gods.
In the crypt, Radamès is joined by Aida, who has elected to die with him. Their duet
affirms they believe they will be immortalized in heaven. Above the tomb, Amneris
prays for Radamès: “Pace, t’imploro, pace t’imploro, pace, pace, pace!” (“I pray for peace,
I pray for peace!”)

The Story Behind the Story
While it is popular belief that Aida was commissioned by the Khedive of Egypt
to celebrate the opening of the Suez Canal in 1869, Verdi had in fact declined the
Khedive’s offer. As part of these opening celebrations, an opera house in Cairo was
also underway to be opened the same year. The Khedive of Egypt was an admirer of
all things European and desired to commission an opera to commemorate the two
openings. While Verdi resisted writing a special piece for the occasion, the house
still opened with one of Verdi’s existing popular operas - Rigoletto.
When Verdi learned from Camille du Locle (a director and librettist of Don Carlos)
that the Khedive had decided to offer the commission of a dedicatory opera to another
composer, he quickly changed his mind and undertook the challenge to write a unique
opera for the Cairo house himself. Commissioned for the large sum of 150,000 francs,
Verdi began composing in 1870. He wished to create a grand spectacle, akin to French
grand opera, with scenes of splendour, a large orchestra and chorus.
The Khedive had worked closely with French Egyptologist Auguste Mariette asked
him to create a plot based on his historical research of ancient Egypt to be used for
an opera. It was later reworked and expanded by Camille du Locle and presented as
a synopsis to Verdi. The composer accepted the story and the libretto was written by
Antonio Ghislanzoni. While the premiere was planned for January 1871, the outbreak
of Franco-Prussian War in Europe left Auguste Mariette unable to leave Paris.
Leaving him stranded with Aida’s costumes and sets, the premiere was forced to
be delayed until December.
When Aida premiered December 1871 at the Khedival Opera House, it was met
with great acclaim. Verdi was not in attendance, and a year later in 1872 Aida made
its European debut at the famous La Scala Theatre in Milan.
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Following the opening of Aida, it quickly became popular throughout Italy and
expanded worldwide opening in NYC in 1873, and in Paris and London in 1876.
It remains one of the most performed operas today; ranking among the top 20
most frequently performed operas throughout the world.

Europe at the Time of Aida
During the time Aida was written, Europe was facing great political change. In 1870
France under Napoleon III declared war on the German Kingdom of Prussia, but was
defeated and as a result lost the regions of Alsace and Lorraine. Prussia was aided by
the other German states and the victory led to the unification of the German Empire
under King William I of Prussia. In Italy, nationalists fought to unify the country –
even Verdi and Aida librettist Antonio Ghislanzoni were involved in the political
change culminating in the country.
Verdi often reflected the political turbulence of the time in his operas and became
known as the “Composer of the Revolution” after Nabucco premiered in 1842.
This opera portrayed the Hebrew people oppressed by the tyranny of the Babylonians.
This plot which resonated and even caused chaos with the Italian audiences of the
time was considered to be replete with political overtones, paralleling its story to
the Austrian control over their country.
Aida is no exception; in this opera Verdi continued to present themes of political
instability as shown through Radamès and Aida who must choose between their
patriotic duties versus eternal happiness through love. In the face of love for one’s
country and love for the enemy, a feasible solution seems impossible. Verdi creates
dramatic tension throughout the opera by making his characters face their
conflicting loyalties.
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Piecing Together an Ancient World
French Archeologist and Egyptologist Auguste Mariette was hired by the Khedive
of Egypt to create a plot based on his historical findings for Verdi. With his expertise
he was also involved in the design of the costumes and sets for its premiere in 1871.
Mariette studied how ancient Egyptians lived from paintings to architecture,
to create authentic scenery and costumes depicting these ancient times.
Frequently, productions of Aida today reference traditional ancient Egypt set during
the Dynasty of the Pharaohs particularly in Memphis and Thebes. Visuals on set
portray the grandiosity of Pharaohs, recognizable symbols such as the Pyramids
of Giza, the Great Sphinx as well as ornate gold costumes.
The history of ancient Egypt is divided into dynasties which mark the succession
of Egyptian rulers. Knowledge of these periods is based on kinglists recorded by
Egyptians themselves that have been preserved in carvings such as the famous
Palermo Stone and Abydos Kinglist (carved on the temple), and writings on papyrus
like the Turin Canon. An Egyptian historian and priest in the temple of Heliopolis
named Manetho wrote History of Egypt (or Aegyptiaca) in the third century bc
This work, in which he organized the kings into the thirty dynasties, is evidence
of the reign of pharaohs. These records combine to provide archeologists with
fragmented answers that help structure the history into the series of kingdoms
and periods we know as ancient Egypt.
Further Learning
• Visit Discovery Channel online dsc.discovery.com/egypt/ for video
clips about ancient Egypt.
• National Geographic.com also provides many great photos of ancient
and modern day Egypt.
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Kings, Pharaohs and Queens of Egypt
Ancient Egyptian kings were the leaders and preservers of peaceful and stable society.
From performing religious rituals to seeing to economic needs, the king was deemed
as protector of the country. It was believed that the god Horus was connected to living
kings, while the god Osiris was associated with dead kings. Even though the kings were
linked to the gods, ancient rituals show that the ancient Egyptians were aware of the
mortality of their kings.
While kingship ideally passed on from father to son, queens were also very significant
to society. The mother of the king served as a symbol of rebirth and creation- giving
her great importance and power. One great female royal, regarded as on of the most
successful leaders by Egyptologists, was queen Hatshepsut. Hatshepsut reigned during
the 18th dynasty of ancient Egypt and is known for establishing prosperous trade
networks during the dynasty and commissioning hundreds of buildings in Upper and
Lower Egypt.
The word ‘pharaoh’ was a title used by the ancient Egyptians to refer to the king.
Stemming from the ancient Egyptian term per-aa meaning ‘Big House’, it was first
used in reference to the royal estate. It was later used to describe the king himself in
the 18 th dynasty of the New Kingdom.
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Composer
Giuseppe Verdi
Giuseppe Verdi was born in 1813 in the small Italian village of Le Roncole. His family
was of middle class origin consisting of landowners, and his father was very supportive
of his son’s education and career aspirations. At a young age Verdi began assisting the
local church organist and later in high school studied humanities and had formal music
lessons. He received financial support and encouragement from the wealthy Antonio
Barezzi, and applied to study at the Milan Conservatory in 1832. Verdi was refused
by the Conservatory and instead began studying under Vincenzo Lavigna, a former
musician and conductor at the famous La Scala Opera House in Milan. In 1836 after
completing his studies, Verdi returned to Busseto and married Margherita Barezzi
(Antonio’s daughter). He composed and conducted with Busseto Philharmonic
Society during the next few years.
In 1839 Verdi wrote his first opera, Oberto, which premiered at La Scala in Milan
and was well received. Shortly after, however Verdi’s family was hit by tragedy.
Within a short period of time his wife and two young children died. Verdi nearly
abandoned composing, but with the encouragement of his colleagues he continued
writing. Inspired by a story, he began writing again and was met with the great success
of his opera Nabucco when it premiered in 1842. Over the course of the next eleven
years, from 1842-1853, Verdi composed a series of sixteen operas. During this period
known as his “galley years”, Verdi created famous works including Rigoletto (1851),
Il Trovatore (1853), and La Traviata (1853) that remain remarkable pieces of opera
history today. Achieving great successes with his work, Verdi became world renowned
as the leading Italian opera composer.
With his successes Verdi gained greater freedom in his artistry and spent more time
away from the theatre and work. After ten years together he married the soprano
Giuseppina Strepponi in 1859 and settled near Busseto. Verdi became involved in the
political activity of the time as a member of the newly-formed national parliament and
ultimately was appointed to the senate. He took his duties as a senator very seriously,
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V Verdi
V Verdi
taking copious notes and logged one of the highest attendances and voting records at
that time in Italy’s parliamentary history. With his fame and success Verdi was able to
be more selective over commissions offered to him. He wrote six new operas after
La Traviata including the popular pieces Don Carlos in 1867 and Aida in 1871.
The following years Verdi composed Otello (1887) and his last opera Falstaff (1893),
both based on two Shakespeare plays (Othello and The Merry Wives of Windsor,
respectively). They premiered with resounding success and became internationally
popular. In 1894 he composed a ballet for Otello and his last composition was written in
1897. In 1901 at the age of eighty-seven Verdi had a stroke while in Milan and passed
away a few days later. Orchestras and musicians came from every corner of Italy for his
funeral in Milan. With 28,000 people lining the streets, his funeral remains the largest
public assembly in Italy’s history. Verdi was one of the most influential composers of
the 19 th century writing 28 operas in all, and it is impossible not to find a work by
Verdi being performed somewhere in the world as you are reading these words!

Librettist
Antonio Ghislanzoni
Ghislanzoni was born in 1824 in the town of Lecco, Italy. When he was young he
briefly studied in a seminary and then medicine, but left to pursue his interest in music
and writing. Inspired by the nationalist ideas of the unification of Italy he founded
several newspapers in Milan during the late 1840s. His involvement in helping the
new republic resulted in him being arrested and detained by the French. During the
1850s Ghislanzoni was an active journalist and editor among the bohemians of Milan.
In 1869 he decided to return to his hometown and retire from journalism. He began
writing libretti for operas and also wrote several short stories and novels. Among
eighty-five libretti written, his best known work remains Aida.
Story by
Auguste Mariette
Mariette was born in 1821 in the northern city of Boulogne-sur-Mer in France. He
was a talented draftsman, designer, teacher and writer of historical and archaeological
topics. When his cousin passed away, Mariette organized his papers and was inspired
by his work on Egyptology. He began studying hieroglyphics and the ancient Egyptian
language Coptic, which led him to a minor appointment at the Louvre Museum in
Paris in 1849. In 1850, assigned by the French government, he made his first trip
to Egypt with the goal of purchasing ancient manuscripts for the Louvre collection.
With little success finding manuscripts, Mariette prolonged an embarrassing return to
France by visiting temples and befriending a Bedouin tribe. The tribe led him to the
site of the ancient Egyptian burial ground Saqqara, which at first Mariette believed to
be merely mounds of sand. After noticing a sphinx, he assembled several workmen to
begin the excavation. In 1851 the discovery of the reputed avenue of the sphinxes was
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made and later the underground catacomb of tombs with statues and tablets among
other treasures. France funded Mariette’s continued research and he remained in Egypt
to ship new discoveries to the Louvre. Egyptian authorities were not pleased, and the
French agreed to divide findings equally with Egypt.
While he worked briefly as an assistant conservator at the Louvre, he soon returned to
Egypt to work for the Egyptian government as conservator under the Khedive Isma’il
Pasha. During this time he made several ground-breaking discoveries and excavations
including the Pyramid fields of Memphis, the catacombs of Meidum, Abydos, and
Thebes, the Temples of Dendera and Edfu, and the Temple of the Sphinx. He also
received funding to create Bula Museum in Cairo to house many of the antiquities
and reduce the illicit trade of artifacts. Even though Mariette’s relationship with the
Egyptian Khedive was not always stable, other rival country’s Egyptologists, such as
those from Britain and Germany, were restricted from digging in Egypt.
In 1869 the Khedive requested Mariette to write a short plot for an opera. The
following year Camille du Locle, a French librettist and theatre director, worked the
plot into a scenario, which was presented to Verdi to use in Aida. The scenery and
costumes for the opera were inspired by Ancient Egypt and overseen by Mariette and
Du Locle. While the premiere was scheduled for January 1871, it was delayed until
December because of the Franco-Prussian War. Mariette who was responsible for the
scenery and costumes was unable to leave Paris due to its siege. When Aida opened
at the Khedival Opera House in Cairo it was met with great success and Mariette
received several honours from Egyptian and European authorities.

Glossary
Arias: Meaning “air” in Italian. Arias are solos that
accompany the orchestra, which allow a character
to express their feelings and demonstrate their
vocal talents.
Baritone: A type of male voice that is lower than
the tenor, but higher than the bass. Usually played
by father figures or middle-aged children.
Bass: A type of male voice that is the lowest pitched.
It is often played by wise and older characters.
Chorus: A large group of singers, often 40 or more,
who appear on stage in a crowd scene. Sometimes
the chorus comments on action or contrasts solos.
Composer: Writes the music.
Contralto: A type of female voice that is the lowest
pitched. Their voice is deep and well-rounded.
Usually played by the maid, mother or grandmother.
Coptic Egyptian: an Egyptian language spoken until the
17th Century. It is now considered extinct because there
are no native speakers of the language.
Ensemble: A musical number sung by two or more
people of different ranges. For example, duets, trios,
quartets, quintets and sextets.
Gallery Years: the middle period of Verdi's career from
1842–1853 where he composed a series of sixteen
demanding operas. Beginning with the premiere of
Nabucco and ending shortly after La Traviata.
Khedive: title used in Egypt until 1914 meaning 'lord'
or 'ruler' in Persian.
Librettist: Chooses a story, writes or adapts the words.
Mezzo Soprano: A type of female voice that is lower
than the soprano and higher than the contralto.
Often played by the character of the young boy,
a complex or evil character.
Playwright: Someone who writes plays.
Pharaoh: title meaning 'king' in Egypt during the
New Kingdom, specifically in the middle of the 18th
dynasty.
Saqqara: an ancient burial site in Memphis, Egypt
where several famous pyramids are located such as the
Step Pyramid of Djoser.
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Soprano: Highest pitched female voice. Usually the
female lead singer is written as this type of voice.
There are 3 types: coloratura, dramatic, and lyric.
Sphinx: a mythical creature, often found in Greek
mythology and Egyptian architecture, which is
recognized by its human or cat-like head and lion body.
Suez Canal: a man-made waterway in Egypt that
connects the Mediterranean and Red Seas. It opened in
1869 and allows travel between Europe and Asia while
bypassing Africa.
Teatro all Scala: also known as La Scala – was meant to
imply that it was 'the scale of measurement for the best
singing in Italy. It is a renowned oepra house in Milan,
Italy dating from 1778.
Tenor: A type of male voice that is the highest pitched.
It is often the leading role and they typically fall in love
with Sopranos.
Thebes: Ancient Egyptian city on the east bank of
the Nile. Its ruins are located in the modern day city
of Luxo, Egypt. It is a designated UNESCO World
Heritage Site.

Activity 1:
Listening Guide (1/6)
Curriculum Connections
Music: Grades 4-6 Listening and Expression
Grades 7-9 Valuing and Listening
Grades 10-12 Theory: Elements and Structures
Activity
This activity will encourage students to listen to musical clips from Aida and
learn how to interpret and make an informed opinion about what they hear.
Before listening, introduce the Synopsis, Characters and The Story Behind
the Story to give context to the music.
Listening Guide written by Stephan Bonfield
Track # Musical Excerpt Connection to the Story Musical Elements of Significance Strategies for Listening
1
Act 1, scene 1: Memphis:
Radames - “Celeste Aida,
forma divina” (“Heavenly
Aida, divine form”)
Radames, selected by the
goddess Isis to command
the armies against the
Ethiopians, sings of his
love for Aida.
He dreams of triumph in
battle, of Pharaoh granting
him the victory prize of
his choice, which he would
use to make his beloved
Aida free.
15
This is a ‘romanza’ and is one of the most famous
arias Verdi composed for the tenor voice. It is set
in A-B-A form.
The middle section sounds a little more agitated as
Radames resolves to show Aida the blue skies of her
homeland once again.
The strings play numerous effects that remind the
listener of the heavens, the sun, and other naturalistic
comparisons Radames draws from nature to relate to
his ‘heavenly’ Aida.
How does the aria show
Radames dreams of love
for Aida, despite the
impossible situation the
lovers find themselves in?
The ending of this aria
is considered one of the
most difficult in opera
history. Why?

Listening Guide (2/6)
Track # Musical Excerpt Connection to the Story Musical Elements of Significance Strategies for Listening
2
3
Act 1, scene 1:
Trio - Amneris, Aida,
Radames: “Dessa!”
Act 1, scene 1:
All - "Su! del Nilo”
(“Arise! From our
sacred Nile”)
Amneris observes
Radames trying to conceal his glances
toward Aida.Radames worries that
Amneris may have discovered his love
for Aida. Amneris suspects that Aida is,
Radames’ love. Aida despairs that she
will never see Radames or her homeland
again.
A messenger announces Ethiopia's
invasion of Egypt. With Thebes now
under threat, Pharaoh declares war,
and all cry out the words “Guerra, guerra”
(“War, war”). Pharaoh announces that
Radames will lead their troops into battle.
Amneris is elated. Radames thanks the
gods and is confident of victory, however
Aïda is more fearful now than ever that
she will lose Radames. Radames is led
to the temple of Vulcan to be anointed
as the chorus of priests and citizens sing
"Su! del Nilo” (“Arise! From our sacred
Nile”) invoking their gods to bring victory
to Egypt. Amneris presents Radames with
a staff that is blessed to ensure his victory,
and all sing the final chorus “Ritorna
vincitor” ("Return victorious”).
16
In this trio, Verdi skillfully manages to show
the separate emotions of the three singers by
writing three very different lines, interweaving
with one another. Here, Verdi wastes no time
exposing the central plot vehicle - the love
triangle, and its difficult situation for the
lovers Radames and Aida.
This is some of Verdi’s most stirring music.
The architecture of the many choral pieces,
interspersed with ensemble singing, is what
makes this scene so famous. Here, Verdi
shows how well he can depict so many
emotions from different characters at
the same time.
How does Verdi use
the music to show the
more personal aspects
of the opera?
Watch a video of this scene
carefully. How does staging
help to explain the plot and
the dynamic between the
characters? (i.e., potential
rivalry between princess
and slave, lover and
beloved, secret lover
and beloved).
What is the effect of
this scene? How does it
illustrate the expectations
of the characters on stage
for what outcome they
hope will occur after the
battle against Ethiopia?

Listening Guide (3/6)
Track # Musical Excerpt Connection to the Story Musical Elements of Significance Strategies for Listening
4
5
Act 1, scene 1:
Aida: “Ritorna vincitor,
L’insana parola” ("Return
victorious, the insane
words!”).
Act 1, scene 2:
The Temple of Vulcan:
Priests - “Possente Ftha:”
(“Powerful Phta”)
Aida chastises herself for repeating the
victory cry of the Egyptians, against her
native Ethiopia, but she is forced to do
so under public pressure.
She laments her capture, her desperate
situation, the fact that she is a princess
to Ethiopia, and that should her father,
King Amonasro, be victorious, it would
mean the loss of her beloved Radames.
Here, the Egyptian ritual is performed
that consecrates Radames as sacred
defender of Egypt.
17
This is a multi-sectional arioso, depicting different
and often contrasting emotions that highlight Aida’s
confused emotional state.
This is a complex tableau in grand French
operatic style, featuring a high priestess,
the high priest Ramfis, a chorus of priests
and a ballet. This scene depicts the sacred
rite for preparation of battle.
The tableau concludes with the concertato
“Nume, custode e vindice” (“Gods, guide
and bring to victory”).
Describe the central
emotional conflict of each
section within Aida’s arioso.
Discuss how Verdi changes
the music with each
section. How does each
section depict different
states of Aida’s conflicted
mind?
Describe the many
musical and staging
devices of the scene.
What kinds of sounds
does Verdi add to make
the ritual seemingly
sound authentically
ancient Egyptian?

Listening Guide (4/6)
Track # Musical Excerpt Connection to the Story Musical Elements of Significance Strategies for Listening
6
Act 2, scene 1:
In Amneris’ apartments:
Amneris -
“Ah! vieni, vieni amor mio”
("Come, come my love").
– ballet – Amore, amore!
– “Trema, vil’ schiava”
(Tremble, vile slave”)
Amneris begins by singing of her love
for Radames and his victory, and how
she hopes he will soon be hers. When
Aida enters, she renews her suspicions
that her slave is her rival, and deceives
her by telling Aida that Radames died
in battle. When Aida is disconsolate,
and Amneris reverses her earlier words,
stating in fact that Radames lives, Aida
is elated, and gives herself away by here
reactions. Amneris tells her to “Trema,
vil’ schiava” (Tremble, vile slave”) and
that she is Aida’s rival for Radames.
18
The scene opens with Amneris’ slaves waiting on her,
singing of their devotion to Amneris. The female
chorus is punctuated by Amneris’ dreams of Radames,
symbolized by her high note to begin each phrase.
When Aida appears, the music sounds innocent
enough, depicting Ameris’ pretense of sympathy for
Aida’s situation. However, the music soon becomes
tense as Amneris draws out Aida with each moment.
Amneris sings in chromatic meanders, attempting to
trap Aida so that she will reveal her love for Radames.
Verdi beautifully illustrates Aida’s roller-coaster ride of
emotion as she learns from Amneris that Radames first
has died, but actually lives. Then Amneris unleashes
her full wrath, declaring herself to be Aida’s rival.
When offstage trumpets declare the triumphant return
of the army, Amneris sings with them, while Aida
answers in the mnor mode, in despair. Left alone,
Aida sings for the gods to have mercy (“Numi pieta”).
What do you think of
Amneris’ behavior in this
scene? Can you explain
Amneris’ behavior from
two possible perspectives –
hers and Aida’s? Make use
of these two differing sides
for your discussion.
How does the conflict
between the two princesses
represent what is stake
for both Egypt (power of
succession) and Ethiopia
(freedom)?

Listening Guide (5/6)
Track # Musical Excerpt Connection to the Story Musical Elements of Significance Strategies for Listening
7
8
Act 2, scene 2: Thebes:
All -“Gloria all’Egitto”
(“Glory to Egypt”)
Act 3:
Aida -“O patria mia!”
(“Oh my country”).
In this impressive finale to Act II,
the victorious Egyptians hold a grand
procession in front of the city gates,
displaying the spoils of their triumphant
battle. The prisoners are brought in,
and beg for mercy. Radames asks for
their release, the priests object, but
Radames successfully convinces the
king to let them go free. Amneris is
presented to Radames as his bride-to-be.
Dramatically, Verdi saves the introduction
of Aida’s father for this moment, but it is
not yet revealed to the Egyptians that he
is, in fact, king of Ethiopia.
Aida has arrived for a secret meeting
with Radames, at which she hopes to
compel Radames to run away with
her. Amonasro plays upon Aida’s
nationalistic feelings, and reminds
her of the atrocities committed by the
Egyptians on her people. He forces her
to agree to extract Radames’ knowledge
of the Egyptian armies’ location, so that
king Amonasro and the Ethiopian army
can mount another attack.
19
The finale to Act II is a grand concertato, and
consists of a grand march, a ballet, a prayer for
mercy by the Ethiopian prisoners, and a final
reprise of the opening “Gloria all’Egitto,” in which
all sing of their reactions to the new situation.
This scene features some splendid instrumental
moments, particularly the on-stage use of trumpet
fanfares. Again, Verdi interweaves multiple thoughts
occurring simultaneously among the characters on
stage, all set against a stirring choral backdrop.
Aida is at her lowest, and most broken in this act.
Not only is she suffering over the loss of Radames
to her rival, but of her homeland too. This is
evocatively demonstrated in her aria where she
sings using a technique called coloratura, describing
the scenic beauty of her country, with a sentimental
and sympathetic oboe line to accompany her.
Soon Amonasro arrives; the orchestral colour
eventually darkens via gradual changes as he
manipulates his daughter more to his own ends.
This scene is considered
the grandest spectacle
in the history of opera.
How does Verdi use the
music to enhance the
magnificent staging?
Do a web search of other
productions. Have other
productions used live
animals? Can such a largescale
finale be produced for
a small stage?
Aida seems to be in an
impossible situation at
this point in the opera.
Can you suggest another
situation, personal, or
historical, in which
someone may have been
in a similar situation,
where it seems that no
matter what decision
one makes, it seems
impossible to win?
What do you think of how
Amonasro manipulated
his daughter to extract the
secret route of the Egyptian
army from Radames?

Listening Guide (6/6)
Track # Musical Excerpt Connection to the Story Musical Elements of Significance Strategies for Listening
9
10
Act 3: Banks of the Nile:
Trio:Radames, Aida,
Amonasro“Tu!...
Amonasro! –
io son disonorato!”
(“You! Amonasro!
I am dishonoured!”)
Act 4, scene 2:
The temple of Vulcan: a
tomb below and temple
above the vault:
Radames and Aida are
below, Amneris above.
(“O terra addio”; "O earth,
farewell").
Radames has decided to flee all he has
with Aida. When asked by which road
they can escape, Radames accidentally
reveals that their escape route will
be safe because the Egyptian armies
won't attack the Ethiopians there until
dawn. Amonasro overhears this and
announces he is the presumed-dead
king of the Ethiopians and Aida's father.
Radames realizes he has just betrayed his
country. Amneris and Ramfis overheard
Radames' betrayal as they exited the
temple and now accuse him of treachery.
The act ends at the highest tensionpoint
in the opera when Amonasro
tries to assassinate Princess Amneris
but is prevented by Radames, who gives
himself up to the priests. Radames is
arrested and taken away for judgment.
Radames’ tomb is sealed, and he believes
he shall never see Aida again. However
Aida suddenly appears; she has chosen
to die with him. The lovers believe that
their love for each other will immortalize
them in heaven, and they will live in
eternal bliss.
Above the tomb, Amneris prays her final
words for Radames: “Pace t’imploro,
pace t’imploro, pace, pace, pace!”
(“I pray for peace, I pray for peace!”)
20
The finale to Act II is a grand concertato,
and consists of a grand march, a ballet, a prayer
for mercy by the Ethiopian prisoners, and a final
reprise of the opening “Gloria all’Egitto,” in which
all sing of their reactions to the new situation.
This scene features some splendid instrumental
moments, particularly the on-stage use of trumpet
fanfares. Again, Verdi interweaves multiple thoughts
occurring simultaneously among the characters on
stage, all set against a stirring choral backdrop.
Radames and Aida sing one of the most poignant
love duets in opera history. It is difficult to act this
duet, given that the singers must depict the air supply
running out in the sealed vault, and must make their
actions seems as convincing as possible. Verdi writes
some of his most tranquil and poignant music to
depict this death scene: chanting from above, a lyrical
and mildly angular melodic arch, as though the lovers
are singing themselves to heaven, all covered with a
shimmering harmonic glow in the orchestra.
How would you judge
Radames’ conduct in
this scene? What has
he done wrong?
Is Radames innocent or
guilty of treason?
How would you assess
Aida’s actions and feelings
in this act?
In the next act, Radames
doesn’t defend himself in
front of the priests for his
treachery. Why?
What do you think
of how Verdi ended
the opera?
What do you think of
the manner of death the
composer and librettist
chose for the lovers?
Would you have ended
the opera differently?
If so, how?

Activity 2:
Nationalism & Identity
Curriculum Connections
Social Studies Grades 11–20–1 Understandings of Nationalism
Student Objectives
Students will explore the influence of nationalism on one’s identity and resulting personal
choices. Using the readings found in Your Guide to Aida discuss as a class the meaning of
nationalism and its significance in the opera Aida.
Activity
Divide your class into two groups and give each an opposing perspective from below:
• Personal love versus love for your country
• National goals versus personal gain
Each group will discuss amongst themselves the different beliefs and values from their
given perspective. Encourage students to create a list and also think about possible
rebuttals from the other group. Use the following questions to prompt discussion if
needed.
Questions for Discussion
What does it means for Radamès to betray his country?
What pressures does Aida face from her father Amonsasro?
What influence do the gods have on the identities of Aida and Radamès?
If Aida and Radamès lived in modern Canadian society, how would society’s view of
them change?
How does nationalism influence current Canadian society?
What role do you think the nation should play in the foundation of personal identity?
In what ways does multiculturalism influence our national identity?
In what ways is our national Canadian identity reflected through culture and the arts?
*Read Europe at the Time of Aida to learn about how Verdi expressed nationalism
through the arts!
21
Activity 3:
Reader's Theatre
Curriculum Connections
Drama Grades 4–9 Develop role-playing skills and specific storytelling skills
Grades 10–12 Develop the ability to play a character from the character’s
point of view
ELA Grades 4–9 4.3 Present and Share
Grades 10–12 5.2 Work within a group
Student Objectives
Students will demonstrate their understanding of the plot through performing
a Reader’s Theatre of Aida. Allow students to read the Aida synopsis.
As a class discuss the plot, characters, dilemmas, and resolution in the opera.
Activity
Divide the class into small groups and assign each group a part of the synopsis.
Within each group designate characters and one narrator. Allow students time to
practice their scene. Students will need to create their character's dialogue based on
the assigned synopsis. After they have prepared, the narrator for the group will read
their section as the other students act out the story. Groups will perform their part
following the sequential order of Aida. If you have props or costumes incorporate them
too!

EDMONTON OPERA PRESENTS
aida
VERDI
OCT 2012
19 8.00 PM
21 2.00 PM
23 7.30 PM
25 7.30 PM
NORTHERN ALBERTA
JUBILEE AUDITORIUM
TICKETS from $50 || 780.429.1000 || www.edmontonopera.com
22
Activity 4:
Poster Creation
Curriculum Connections
Art Grades 5-6 Component 7: Composition, Component 10: Expression
Grades 7-9 Drawing and Composition
Grades 10-12 Drawing and Composition
Activity
When creating a poster for an opera there are many things to consider. It is important
to keep in mind the Director’s vision for the production and allow ample time for
research through different resources such as online, literature, listening to the music,
and watching other productions.
When creating an image to represent an opera you must consider the time period,
setting, themes, characters, and plot. Our designer must also keep in mind our audience
that we are trying to appeal to and what types of medium’s we will use to reach them.
After researching, it is important to sketch and brainstorm your ideas. It can be helpful
to make a collage or mood board of different visuals and ideas that you would like
to incorporate into the final image. Other important factors include the hierarchy
of information (what is the most important information and how will you show that
importance – size of type, colour, location, etc), typography, colour (contrast, significance
of colour), composition (placement, size and shape), and form among others.
How would you illustrate Aida? Is your image a literal or symbolic portrayal?
Using the synopsis, Message from the Director, and The Story Behind the Story
create a poster using what you feel represents Aida the strongest.
Edmonton Opera loves hearing from students! Send student posters
to education@edmontonopera.com and they may be posted on our website!

Activity 5:
Facebook Character Development
Curriculum Connections
ELA Grade 4–6 2.2 Respond to Texts
Grade 7–9 1.2 Clarify and Extend
Grade 10–12 2.1.2 Understand and Interpret Content
Activity
Students will explore and develop different characters in Aida by creating a Facebook
profile. Discuss the characters as a class, talking about their importance and roles.
Group students into small groups and assign one of the following characters:
Aida, Radamès, Amneris, Amonasro, Ramfis, and Pharaoh.
Encourage students to develop a profile for their assigned character including:
interests, education, work, philosophy, arts, sports, likes, and other activities.
Write three status updates that your character would write based on the storyline
and events in Aida.
Allow students to share their character insight amongst small groups followed
by a classroom discussion.
Questions for Discussion
What groups is your character involved in? What types of friends do
they have?
What types of goals does your character have? Do they face any obstacles
in achieving these goals?
Were you able to relate to your character? Can you understand why your character
made the decisions that they did?
Verdi’s Aida first premiered in 1871; do you think the characters
are still relevant today?
23
Activity 6
Opera Notes
Curriculum Connections
Music Grades 1-9 Listening
Music Grades 10-12 Theoretical/Practical and Interpretation and Synthesis
ELA Grades 4-9 2.2 Respond to Texts, 3.4 Share and Review
Grades 10-12 1.1 Discover possibilities, 2.3 Respond to a Variety
of Print and Nonprint Texts
Activity
Students are encouraged to record their opinions during intermission and post-
show using Opera Notes. This publication includes a synopsis, and cast information
for students to take home!
Edmonton Opera will have complementary printed copies available for students
attending the dress rehearsal.
See you at
Aida!
✐
EDMONTON OPERA PRESENTS
aida
VERDI
OCT 2012
19 8.00 PM
21 2.00 PM
23 7.30 PM
25 7.30 PM
NORTHERN ALBERTA
JUBILEE AUDITORIUM
TICKETS from $50 || 780.429.1000 || www.edmontonopera.com