New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1873-11-27
THE NEW OPER1.



aida" was first performed ~ Cairo' on Tue Sf.h
of December, 1871. The Khedve. who --spnes 10 Tue
glory of patron of the arts has lavished
sums of money in sustaining an Opera House which
foreigners in Egypt too few to fill and his native
subjects are incapable of relishing and there the
fortunate traveller may listen to some of the best
artists Of Europe, singing on spendidly-appointed
stage before rows of empty boxes His Highness can
afford the amusement. and why should he not indulge
it, Never has modern composer been more magnit-
Gently entreated than was Verdi when the Egyptian
ruler commissioned him to write opera for this
most remarkable of theaters. The maestro was to
choose his own singers and to promise them their
own price. The subject was TO be furnished by COM
tent playwrights and borrowed from Egyptian
.istory Everything was to be done for the proper
presentation of tho work and Sig Verdi received
large of money for producing it in Cairo before
il should be heard in any other part of the world
The promises of the Khedive as to the manner
of its representation were fully kept, and it is
said that scenery dresses, decorations and the mis-
cellaneous stage appointments cost not less than
one hundred thousand dollars in addition of course
to the salaries paid the artists. From Cairo Aida"
went to Milan 1t has never been heard in Paris or
in London. and Mr. Strakosch brings it to New-York
while it is still unfamiliar to the musical world at
large and even unknown in most of the cultivated
cities of Europe. The drama was originally written
in French prose- by the celebrated Psychologist, NJ
Marietta II was turned into French verse by
another hand and from that version Sig. Ghislanzon
constructed the Italian libretto. The action takes
place lat Memphis and Thebes during the time of the
Pharaohs"-a period which may be supposed to EN-
brace any indefinite and remote stretch Of centuries
and therefore offers the dramatst almost unlimited
freedom. aida, the daughter of Amonasro King of
Ethiopia is q slave in the palace of Pharaoh, at
Memphis. She there WINS the love of Rddames
young Egyptian general, who. at the opening Of the
opera is chosen to lead the kings army against an
invading force Of Philippians. He returns in tri-
umph, bringing Anonasro prisoner. and the
first use he makes of his favor at court
is to beg the lives Of the captives. The
King offers him i'll reward for his services
the hand of his daughter Amneris who has long
loved him but R0danes, faithful to Aidd declines
the proffered honor. Amonasro now persuades aida
to obtain from Raddmes the secret of a pass which
the Egyptian troops have left unguarded, and the
lovers are about TO fly together by that road when
the vengeful Amneris and the high priest Rdn,fs
who have overheard them, denOunce Rdddmes as
traitor. He is condemned TO be buried alive, and
after refusing to his life by renouncing Aida
and accepting the hand of the princess who loves
and hates him by turns, he is immured in tho vaults
under the great temple of the god Phthah. In this
dreadful place he finds the faithful Aidd awaiting
him. She has concealed herself there in order to
share his fate, and they die in each others arms
Ii will readily be conceived that the story of
which we have sketched outline abounds in tell
ing situations strong dramatic contrasts, and OPP
portunies for theatrical display. and they have all
been improved to the utmost. Mr.. Strakosch pro-
cured most of his properties dresses aud scenery in
Italy. copying from the original outfit prepared
with some care after authentic antiques. We
assured that they faithfully represent the
Egypt of three four thousand years ago,
and we dare say they are much nearer to historical
correctness than such things generally are on the
stage. However that may be. the, magnifconce
with which this opera has been Produced struck
everybody with amazement. For once the most OK
trayagant promises of prospectus have been
realized. To say that nothing approaching
the splendors of last nights representation
has over been witnessed at the Academy of Music
would be faint and inadequate praise. Wo do not
now rcpombor anything W hno on any New-Yoyk