The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-01-31
IA I D A."
The Grand Opera Written in Honor Of
the Khedive Of Egypt.
Verdi in the East-A First Night in Cairo-The
Story Of Aida in voluptucus song-750,0 900
Francs for One Representation.


CAIRO Dec. rs, 1871.
aida - verdi's last and most ambitious opera,
was represented at the Grand Opera House OF Cairo
last night In the presence OF the VIceroy and most
distinguished audience. Being the first night OF Its
presentation 10 the public, and from the fact that
was written In honor OF the Viceroy by the most emil
nent OF living composers, ITS production was antlc-
pated by all the gathered musical talent resident
and travelling in Egypt Two weeks ago all the
seats had been taken, and steamers from the vari-
Gus Mediterranean ports had brought artists ana
amateurs anxious TO see the operaiic sensation OF
the day Boxes commanded as high as 500;
orchestra seats, $25 anu standing room was leased
by The square inch at sums varying from So TO $40.
For TWO weeks
THE FAvORIrE OF THE TOWN
had been aida" Last night the excitement cu'-
minated in brilliant success creditaDe to the COM
poser, the artists anu the Vlceroy. TWO years ago
Verdi began to work upon this masterpiece, and ne
has been tollng since, with the cooperation OF
savans appointed by the Vicercy 1t was his object
TO produce worthy successor to ''TrOvaore," ands
particularly, opera that might illustrate the his
tory OF Egypt even to the confines OF Nubia HIS
selected task was national, but his audience inter-
national. His patron rich, influential ana
anxious; yet Verdi himself was not poor either IN
money or reputation. To I'LL an order for an OPERA
as your tailor fills for your coat and yet to do
1t In the most effective and artistic manner, was
vERDfs OBLIGATION.
But operas are not like promises to pay, and in
spiration cannot be bought even from verdps ample
stock The consequence has been that "Aida,"a
series OF grand choruses gloomy Oriental masses
and passionate Italian airs, glowing with the COM
poser's tyiste sentimentalism, will be seen heard
and enthusiastically applauded, until the auditor
begins TO assmilate the solos and duets with the
other and grander works OF the author As an
opera faithful to It's historical import, one v HIGH
beyond all question Is
THE MOST CONSCIENTIOUS wORK OF THE CENTURY,
as spectacle with splendid and truthful scenery,
rich and princely costumes and heavy, massive
music it Will live forever But 1t develops IN the
mind no new tram OF sympathetic thought, judged
in point OF melody or grandeur OF expression;
IL is only history written on the scale, tradition
glowing on the canvas. viewed In this hight 1t II
unitarian and instructive, ana Is the first example
where the poetic license has not been freely in-
dulged by the composer. Verdi makes spectacle
ana u song OF wild tradition. But to Verdi does not
THE CREDIT OF THIS SUCCESS.
| 1t Is due to Marietta Bey. the most eminent
| archGOlOglst OF our time, VINO went to Paris "
special order OF the Vlcer0y to oversee the pre-
paratlon Of the costumes. 10 the minutest degree
anCients, and the stage scenery has been pre-
pared with like fidelity. The entire cost oi Inc
| night the opera began with
THE DROP CURTAIN,
though the drop curtain In operas IL generally up
that to say, the preface work OF art repre-.
senting Old Egypt on the right with decayed
temples, pyramids, ooeiisks anu mausoienms, and
ON the left It's green fields, railroads. telegraphs
purpose Of aida" The first scene was disclosed
amid q storm OF applause, representing garden IN
the palace OF the KING at Memphis, with the pavIl-
ion OF The King formed with double line Of columns
In wood. In the back ground Is perceived the Gull
distance. There begins
q lovely Ethiopian princess Aida Is u slave, cap
tured in the conquest of Ethiopia, and belongs to
stil King OF the disconented province, determines
to make war on the Egyptian mOaarch and 70 re-
expedition is formed, something OF less strength
| Than that which England sent against 'ADyssinla,
ts by War In the meantime Aida rs loved
by one Khadanles, Captain OF tho Guards, and she re
quites the tender sentiment. But Aneris pays an I'm
portant part. She also is LOVING tins Captain OF the
Guards and her love Is OF some consequence, mas
much as she Is daughter OF the King. Present.,
EBONY chielGain and his savages, and nurries DacI
10 the sweet caresses OF his Aida Then follows tn'
liberation OF all the captves az the suit oil the Cap
tam; and then, too, passionate strains Ol
ANGER RAGE HATE AND JEALOUSY
between fiery Aida and the .corpulent Princess
Finally the Captain IS Induced to attempt goins
with her to her own nation, aud this coming TO TN
royal ears he IS cast INTO prison. der iatner IS an
dungeon, and the H,idie il that Aida and Rhadames
meeting In their dreary cell, die IA denXhuuI ag0n.
together.
| vERDI's MAsrERpIECE.
10 say that In situations SO fui OF dramatic terrO
Verui has not done justice to his capacity 10
grace and variety OF expression would be to pro
nounce "Aida'' a failure, and AIDA IS not failure
1t Is not, however, q .'rravlatan or "Trovatore.
FROM It's groundwork 1t could be neither Yet ia
"Aida there situations and solos anu duets tina
| VIII ever enchain the bearer Last night 10 was
! UNSATISFACTORY,
the reigning priina donna OF Cairo, who wa!
selected ny Verdi OF all others to give the frs
artistic acnieved the Splendid success. which ever
astonished herself and made her scarlet with pride
Pozzoni Is little woman thirty should say, WITH
q large, brilliant eye, great freedom In facla
demonstration, and gifted. above all, with de-
than hguratvcly part OF the human voice. Apart
from her personal appearance she possesses voice
| OF great richness, exquisite decacy and immense
volume. her fine point Is the readiness with
which she moves from one key to another, and n
is unconscious Of her audience aud Is enveicped II
her part. ,ne only consents to smile on the audito
! Madame GrossI, the Kings daughter IS q fee biz
| Parepa IN everything but size; while Mong1ni cOult
| play three weeks NJ the New York Academy o
Music without firing the public.
The King OF The Philippians was fine piece O
acting by stellar, though the position mucn inre
ONE CLIMAX OF THE CHARACTERIZATION
occurs in the iourth scene OF the second act, wheI
tam VINO, upon being asked his compensation To-
his achievement, names the liberty or the captives
The KING, IRON ms THRONE SAYS, Yes" aud s,mul
her latner IN disguise which induces all the subse
| quent complications OF the plot
! In the third act the enthusiasm OF the hearer
! became rapturous. 1t Is the point wnen Rnadane
begs Aida TO ny 10 ner own nation, ana that h
| Will follow her forever
| On now let us fly
Yes, let us hy these walsl
Ana then he tells that desert shall he thei
nuptial bed, ana that on them Heaven shall smil
and the stars shall DlumiDe their love- Then tn
, duet, which was followed 10y a shower OF howers:-
yien mecca -insiem fuggiamo
Quesia terra d dolOr,
Vieni mecco--o tamo, 10 tsmo
| A mol duce ramor.
| lcannot praise the ending OF "Aida.n Beneath TIT
temple OF vulcan one upon the stage labyrinth
! OF cells filed with people chanting tEeir own dealt