Aida and Suez Canal | Mavi Boncuk Aida and Suez Canal If you ever hear the story, and you will, that Verdi composed Aida for the grand opening of the Suez Canal - don't give it credence, it's not true. Mavi Boncuk | Aida: opera in four acts, libretto by Antonio Ghislanzoni, after the scenario by Camille Du Locle and the original draft by Auguste Mariette, premiere on 24th December 1871 at the Cairo Opera House 'Dar Elopera Al Misria' with the following cast: As part of the celebrations surrounding the opening of the Suez Canal on 17th November 1869, the Khedive of Egypt built a new opera house in Cairo. The inaugural performance, Verdi's 'Rigoletto', took place on 6th November 1869 (some sources say 1st November). The Khedive had approached Verdi about the composition of an inaugural ode - which Verdi had declined somewhat haughtily, saying he was 'not accustomed to compose occasional pieces'.

In May 1870 Verdi finally consented to write an opera specifically for Cairo, on an Egyptian theme: Camille Du Locle, a close friend since the days they had collaborated on Don Carlos in Paris, had sent him a scenario based on a synopsis written by Auguste Mariette, a French Egyptologist in the service of the Khedive. Du Locle's treatment of the story was broken down into recitative, scena and formal number by Verdi himself and his wife Giuseppina, and from this Antonio Ghislanzoni prepared the verses. From Verdi's correspondence with Ghislanzoni it is clear that he played a very active part in the creation of the libretto, humouring, but nevertheless pushing the respected librettist in the direction that he wanted. The premiere in Cairo was originally scheduled for January 1871. However, the French had declared war on Prussia in July 1870, and by November of that year Paris was under siege by the Prussian army. Paris - and with it the scenery and costumes for the Cairo production which were constructed there under the supervision of Du Locle and Mariette.

Work came to a halt due to lack of workmen, and in any case it was out of the question to have the props etc. shipped out of the beleaguered city. For Verdi, the postponed premiere was a blessing in disguise. He had composed Ghislanzoni's verses as fast as they had arrived on his doorstep, and the opera was practically finished in the winter of 1870/71. However, it was not yet scored for the various instruments. This Verdi usually did in the rehearsal period prior to a premiere, but he wasn't planning to go to Cairo himself, and so he set to work on the score at home, at his leisure. The Cairo premiere on 24th December 1871 was predictably an enormous success - and Verdi, in absentia, was awarded the title 'Commendatore of the Ottoman Order'. As early as September 1871 Verdi had turned his attention to the production of 'Aida' at La Scala, to take place the following February. He coached the principal singers (among them Teresa Stolz) at Sant'Agata, and made sure that the La Scala orchestra and chorus were up to strength.

In fact his interest in the physical production of the opera was so intense that he even chose the designer himself. Verdi also composed an overture of the potpourri variety to replace the original prelude, but in the end he decided not to have it performed because of its - his own words - 'pretentious insipidity'. Thus, expectations - and ticket prices - were high in Milan on 8th February 1872. La Scala was crammed to the rafters. Seats were being 'shared'! Public reaction was enthusiastic, but some influential critics were ambivalent, noting that the opera seemed an odd mixture of old-fashioned and modern. Opera houses in Italy and elsewhere were at once clamoring to include 'Aida' in their schedules, but for two years following the Milan premiere the new opera was shown only at selected venues in Italy - selected by Verdi for their ability to make a proper job of the production. One such place was Parma, a city close to Busseto and Sant'Agata, where a very successful series of 'Aida' was given in April and May 1872.

However, evidently the opera did not please everybody and Verdi found himself the recipient of a curious letter from a young man who had travelled to Parma from Reggio Emilia to see 'Aida' - twice, to make quite sure of his opinion - and had found the music disappointing. He was therefore requesting the Maestro to refund his train fare, the cost of his two tickets, and the amount paid for 'two awful suppers at the station restaurant'. He further informed the Maestro that in his view 'Aida' might well be shown in another two or three theatres, but that it would surely thereafter and in the future 'gather dust in the archives'. 'The Maestro' took this affront in his stride and instructed his publisher and friend Giulio Ricordi to pay the sum requested - minus the supper bill, of course, as 'he could very well have taken his evening meals at home', Verdi wrote to Ricordi. In the same humorous vein, the composer required that the amount was to be paid in return for a receipt and a signed undertaking by the young man never to attend another new opera by Verdi...

Contrary to these dire predictions about 'Aida's' future, the opera has played to immense success in the 129 years since its premiere. In the first ten years alone it was shown at 155 opera houses all over the world - among them New York and Philadelphia in 1873 and Chicago and Boston in 1874. The annual opera festival at the Arena di Verona was inaugurated in 1913 with a colourful production of 'Aida' - a production that is occasionally revived to this day. If you ever hear the story, and you will, that Verdi composed Aida for the grand opening of the Suez Canal - don't give it credence, it's not true. Posted 16th June 2004 by M.A.M 0 Opera - Freni in 'Aida' In Houston's New Hall - NYTimes.com Opera: Freni in 'Aida' In Houston's New Hall By DONAL HENAHAN, Special to the New York Times Published: October 17, 1987 HOUSTON, Oct.

16— When the Khedive of Egypt, as legend has it, wanted something suitably boffo to celebrate the opening of the Suez Canal, he commissioned Verdi to compose ''Aida.'' Unfortunately, that is one of opera's more durable myths. Still, a proper ''Aida'' can be prime grand-opening material, as this city well understands. For the inaugural performance Thursday evening in the Alice and George Brown Theater of the $70 million Wortham Center, the Houston Grand Opera once again turned to ''Aida,'' just as it had 21 years ago in opening its former home, Jones Hall. Despite the company's deserved reputation over the years for excellence, and the presence of an international cast of top-rung Verdians, only an optimist would have predicted that this dressed-to-the-teeth civic celebration would develop into a musical event. Acceptable performances of ''Aida'' are rare under the best of circumstances, and gala opening nights generally are extramusical happenings that the opera lover is glad to put behind him.

And yet, this one turned out to be credibly sung and handsomely produced, a happy christening and augury for this 2,200-seat house whose acoustics seemed remarkably well-balanced and congenial to voices. Notes registered palpably, whether as pianissimos of the well-schooled chorus or thrilling outcries of soloists soaring over massive ensembles. The orchestra pit, partly submerged in modified Bayreuth style, helps eliminate a psychological barrier between stage and audience. It also allows voices to carry into the house with less effort, minimizing ugly forcing. Emil Tchakarov's thoughtful conducting worked toward that end, too. Mirella Freni, taking on the title role for the first time in eight years, made light of its weighty challenges. Her versatile soprano showed a slight hardening on the highest notes, but for the most part the tone quality was remarkably pleasing. Aida never has seemed the most natural role for her, but she found her way deep into the character, most surely in sustaining an impassioned ''O, patria mia,'' but with similar success in the pathos of the tomb scene.

Placido Domingo, as her confused lover Radames, sang and acted rather stolidly. Still, few tenors today carry off more sonorously and convincingly the part of the muscular hero who saves Memphis from its Ethiopian enemies. Stefania Toczyska's unusually sympathetic Amneris stood up to Aida in every dramatic respect. Both Ingvar Wixell (Amonasro) and Nicolai Ghiaurov (Ramfis) acquitted themselves honorably, though Mr. Ghiaurov's bass has lost much of its velvety power. David Langan, as the King, looked and sounded a little young for the job. Pier Luigi Pizzi's uncluttered direction and stark designs bowed to ''Aida'' tradition, but certainly did not scrape. Yes, he brought on elephants in the triumphal scene, but not the live kind, thank you. Huge but toylike tuskers with warriors astride were rolled about on wheels in a battle dance (inventively choreographed by Richard Caceres). A children's ballet, against all the odds, actually proved palatable.

The sets consisted largely of ceiling-to-floor panels and pillars that slid in and out as scenes shifted. Mr. Pizzi, who likes to contrast brilliant light and Stygian gloom, illuminated the action with dozens of hand-held torches, as if to emphasize the darkly violent side of Egyptian society. The most memorable image, however, was a 25-foot-high bronze death's head of the god Ptah, which dominated the first temple scene (and, less logically, the Nile scene). The Wortham Center, which covers more than three acres of downtown Houston, was designed by the same architectural firm that gave the world the Astrodome. It has an air of confidence and spacious grandeur that the Khedive himself might have approved. Besides the Brown Theater -which even on first hearing one would be inclined to rate among the few satisfactory opera houses built anywhere in America during this century - the center includes a 1,100-seat theater meant for plays, chamber music and operas less heroically scaled than ''Aida.'' It should cosily accommodate Mozart's ''Abduction From the Seraglio'' later this season. In respect to opera's housing problems, at least, Houston can give lessons to New York.

THE CAST AIDA, opera in four acts by Giuseppe Verdi; libretto by Antonio Ghislanzoni based on the French prose of Camille du Locle, plot by Mariette Bey. Emil Tchakarov, conductor; Pier Luigi Pizzi, director and designer. Performed by the Houston Grand Opera at the Brown Theater, Wortham Theater Center, Houston. Aida ...... Mirella Freni Radames ...... Placido Domingo Amneris ...... Stefania Toczyska Amonasro ...... Ingvar Wixell Ramfis ...... Nicolai Ghiaurov King ...... David Langan High Priestess ...... Marquita Lister Messenger ...... John Keyes Photo of the triumphal march from the Houston Grand Opera's production of Verdi's ''Aida.'' (Jim Caldwell) AIDA AND THE CANAL? THE COBBLESTONES OF SUEZ ONCE TROD BY OTHELLO? | Simanaitis Says About the Author AIDA AND THE CANAL? THE COBBLESTONES OF SUEZ ONCE TROD BY OTHELLO? EGYPT HAS rich operatic history, but not without misunderstanding, myth and surmise.

It has been said that Giuseppe Verdi’s Aida was commissioned to celebrate the grand opening of Cairo’s Khedivial Opera House in 1869. Or was it to celebrate the Suez Canal’s completion that same year? Nope, on either. But, even more tantalizing, there’s reason to believe the real Othello might have trod cobblestones of what’s now Suez, another Egyptian city of some note. Aida, opera by Giuseppe Verdi, cover of an early vocal score, c. 1872. Verdi’s Aida is set in Egypt of an indeterminate era, with rituals and temples a’plenty. Spoiler Alert: Ethiopian slavegirl Aida and her lover Radamès, Egyptian Captain of the Guards, die together entombed beneath such a temple. And, in fact, Aida was commissioned by Isma’il Pasha, Khedive of Egypt, for performance (though not the inaugural one) at Cairo’s Khedivial Opera House. The opera’s world premiere took place there on December 24, 1871.

It had been slated for an earlier date, but the Franco-Prussian War, 1870 – 1871, caused its costumes and scenery to be stranded in Paris. It was Verdi’s opera Rigoletto that made the Khedivial Opera House’s opening night, November 6, 1869. Another important event in November 1869 was the opening of the Suez Canal. Indeed, Verdi had been offered opportunity to compose an inaugural hymn for the occasion. He rejected the gig, with “I am not accustomed to compose occasional pieces.” The Suez Canal ceremony, sans Verdi, took place on November 17, 1869. Nor did the 1871 Cairo debut of Aida meet with Verdi’s approval. He didn’t attend, but later heard that the audience had been all invited dignitaries, politicians and critics, with no members of the general public. It wasn’t until February 8, 1872, at Milan’s La Scala, that Verdi considered the real premiere of Aida.

I recounted a memorable Aida performance in “Opera Chaos IV” when the tomb doors slid past their intended closure to opposite wings of the stage. There have been other Aida countretemps decidedly less entertaining. A 1997 production, against the backdrop of the Deir Al-Bahari Temple in Luxor, Egypt, was cancelled after terrorist attacks on tourists. Another scheduled Aida planned with the Pyramids as background was cancelled because of the September 11, 2001, attacks in the U.S. Verdi’s Aida. Image from the Metropolitan Opera. On May 28, 2013, a Cairo Opera House Aida curtain rose to an on-stage strike . Most recently, and without incident, the opera’s famous Triumphal March was performed in Cairo as part of an August 2015 celebration of the New Suez Canal’s widening. Enough already on Aida. What about Othello treading the cobblestones of Suez? I came on this tidbit while reading A Volume of Places Which Have Delighted, Intrigued and Intimidated Men, the second time this reference proved useful.

The book cites Famagusta, Cyprus, as “one of the finest remaining monuments of the Latin Kingdom in the East, and the scene of the tragedy of Othello.” By background, Shakespeare’s Othello and Verdi’s Otello (its Italian rendering) are both based on Un Capitano Moro, A Moorish Captain, by Giovanni Battista Giraldi. Nicknamed Cinthio, he was an Italian novelist and poet, 1504 – 1573, roughly a generation before Shakespeare’s time. Lala Mustafa Pasha Mosque, formerly St. Nicholas Cathedral, Famagusta, Cyprus. Image by Gerhard Haubold. Cyprus, an island in the eastern Mediterranean, has alternated between eastern and western rule through the ages. It was a stopping-off point during the crusades, 1096 – 1487, ruled by Genoa from 1372 and by Venice from 1489 to 1571. Verdi’s Otello. Image from the Metropolitan Opera.

To quote A Volume of Places, “A certain officer surnamed Il Moro, with three mulberries as his crest, is believed to have been the origin of Shakespeare’s Moor, but whatever his colour, his legend is part of life at Famagusta…. Desdemona [Othello’s wife] is the name of the harbour tug, and Othello is freely cried in every bar in the town—since it is the name of a local red wine.” The Suez connection? Again, from A Volume of Places, after an Ottoman takeover of 1571, “The inertia of the Turkish conquest fell on the town and partially preserved it into the nineteenth century, until the construction of the Suez Canal put a new value on old stones. Churches, palaces, fortifications, houses, fell to the stone-wreckers, and the quays of Port Said and Suez are paved with the stones of this city, which was once the richest city of the Levant.” And a city where Othello may well have walked.

ds © Dennis Simanaitis, SimanaitisSays.com, 2016 Giuseppe Verdi Giuseppe Verdi (born Roncole, 9/10 October 1813; died Milan, 27 January 1901). He was born into a family of small landowners and taverners. When he was seven he was helping the local church organist; at 12 he was studying with the organist at the main church in nearby Busseto, whose assistant he became in 1829. He already had several compositions to his credit. In 1832 he was sent to Milan, but was refused a place at the conservatory and studied with Vincenzo Lavigna, composer and former La Scala musician. He might have taken a post as organist at Monza in 1835, but returned to Busseto where he was passed over as maestro di cappella but became town music master in 1836 and married Margherita Barezzi, his patron's daughter (their two children died in infancy).

Verdi had begun an opera, and tried to arrange a performance in Parma or Milan; he was unsuccessful but had some songs published and decided to settle in Milan in 1839 where his Oberto was accepted at La Scala and further operas commissioned. It was well received but his next, Un giorno di regno, failed totally; and his wife died during its composition. Verdi nearly gave up, but was fired by the libretto of Nabucco and in 1842 saw its successful production, which carried his reputation across Italy, Europe and the New World over the next five years. It was followed by another opera also with marked political overtones, I lombardi alla prima crociata, again well received. Verdi's gift for stirring melody and tragic and heroic situations struck a chord in an Italy struggling for freedom and unity, causes with which he was sympathetic; but much opera of this period has political themes and the involvement of Verdi's operas in politics is easily exaggerated.

The period Verdi later called his 'years in the galleys' now began, with a long and demanding series of operas to compose and (usually) direct, in the main Italian centres and abroad: they include Ernani, Macbeth, Luisa Miller and eight others in 1844-50, in Paris and London as well as Rome, Milan, Naples, Venice, Florence and Trieste (with a pause in 1846 when his health gave way). Features of these works include strong, sombre stories, a vigorous, almost crude orchestral style that gradually grew fuller and richer, forceful vocal writing including broad lines in 9/8 and 12/8 metre and above all a seriousness in his determination to convey the full force of the drama. His models included late Rossini , Mercadante and Donizetti. He took great care over the choice of topics and about the detailed planning of his librettos. He established his basic vocal types early, in Ernani the vigorous, determined baritone, the ardent, courageous but sometimes despairing tenor, the severe bass; among the women there is more variation.

The 'galley years' have their climax in the three great, popular operas of 1851-3. First among them is Rigoletto, produced in Venice (after trouble with the censors, a recurring theme in Verdi) and a huge success, as its richly varied and unprecedentedly dramatic music amply justifies. No less successful, in Rome, was the more direct Il trovatore, at the beginning of 1853; but six weeks later La traviata, the most personal and intimate of Verdi's operas, was a failure in Venice - though with some revisions it was favourably received the following year at a different Venetian theatre. With the dark drama of the one, the heroics of the second and the grace and pathos of the third, Verdi had shown how extraordinarily wide was his expressive range.

Later in 1853 he went - with Giuseppina Strepponi, the soprano with whom he had been living for several years, and whom he was to marry in 1859 - to Paris, to prepare Les vï¿½pres siciliennes for the Opï¿½ra, where it was given in 1855 with modest success. Verdi remained there for a time to defend his rights in face of the piracies of the Thï¿½ï¿½tre des Italiens and to deal with translations of some of his operas. The next new one was the sombre Simon Boccanegra, a drama about love and politics in medieval Genoa, given in Venice. Plans for Un ballo in maschera, about the assassination of a Swedish king, in Naples were called off because of the censors and it was given instead in Rome (1859). Verdi was involved himself in political activity at this time, as representative of Busseto (where he lived) in the provincial parliament; later, pressed by Cavour, he was elected to the national parliament, and ultimately he was a senator.

In 1862 La forza del destino had its premiere at St. Petersburg. A revised Macbeth was given in Paris in 1865, but his most important work for the French capital was Don Carlos, a grand opera after Schiller in which personal dramas of love, comradeship and liberty are set against the persecutions of the Inquisition and the Spanish monarchy. It was given in 1867 and several times revised for later, Italian revivals. Verdi returned to Italy, to live at Genoa. In 1870 he began work on Aida, given at Cairo Opera House at the end of 1871 to mark the opening of the Suez Canal (Verdi was not present): again in the grand opera tradition, and more taut in structure than Don Carlos. Verdi was ready to give up opera; his works of 1873 are a string quartet and the vivid, appealing Requiem in honour of the poet Manzoni, given in 1874-5, in Milan (San Marco and La Scala, aptly), Paris, London and Vienna.

In 1879 the composer-poet Boito and the publisher Ricordi prevailed upon Verdi to write another opera, Otello; Verdi, working slowly and much occupied with revisions of earlier operas, completed it only in 1886. This, his most powerful tragic work, a study in evil and jealousy, had its premiere in Milan in 1887; it is notable for the increasing richness of allusive detail in the orchestral writing and the approach to a more continuous musical texture, though Verdi, with his faith in the expressive force of the human voice, did not abandon the 'set piece' (aria, duet etc) even if he integrated it more fully into its context - above all in his next opera. This was another Shakespeare work, Falstaff, on which he embarked two years later - his first comedy since the beginning of his career, with a score whose wit and lightness betray the hand of a serene master, was given in 1893. That was his last opera; still to come was a set of Quattro pezzi sacri (although Verdi was a non-believer).

He spent his last years in Milan, rich, authoritarian but charitable, much visited, revered and honoured. He died at the beginning of 1901; 28,000 people lined the streets for his funeral. Time Line 1813 Verdi is born at 8 o'clock in the evening on October 10 (birth certificate) at Le Roncole in the Duchy of Parma, then part of Napoleon's Kingdom of Italy. 1821 After showing an early interest in music he is given a second-hand spinet. 1823 He moves to nearby Busseto to get an education at the 'Ginnasio'. 1824 Begins studying music with Ferdinando Provesi. 1828 Composes new overture to Rossini's Barber of Seville for performance in Busseto. 1832 First journey to Milan; the conservatory refuses his admission (!!), and he begins private studies with Vincenzo Lavigna. 1833 Verdi's only sibling, his younger sister Giuseppa, dies at age 17.

1836 He marries Margherita Barezzi, daughter of his Bussetan patron Antonio Barezzi, in May; becomes 'municipal music master' of Busseto. Lavigna dies in September. 1837 Daughter Virginia is born on March 26. 1838 Son Icilio is born on July 11; Virginia dies on August 12. His first composition is published: six rather mournful songs (Sei romanze). He resigns as 'municipal music master' of Busseto. 1839 The Verdis move back to Milan. Icilio dies of bronchial pneumonia on October 22 - the young parents are heartbroken. Oberto, Conte di San Bonifacio premieres at La Scala on November 17 and is shown 14 times that season to generally favourable reviews. This certainly establishes Verdi as a serious composer.

The Milanese publishing house Casa Ricordi secures the rights to his next work, and a lifelong (notwithstanding the later half of the 1840s, were Verdi published mostly with Lucca) and almost unblemished relationship is formed, spanning the Ricordi generations from Giovanni (1785-1853) to his son Tito (1811-1888), Tito's son Giulio (1840-1912) and Giulio's son Tito II (1865-1933). He meets soprano Giuseppina Strepponi, a staunch supporter in the years to come. 1840 Margherita dies of encephalitis on June 18. Verdi loses his zest for life: 'A third coffin goes out of my house. I was alone! Alone!'. Small wonder then that his buffo opera Il finto Stanislao flops miserably at La Scala on September 5, all further performances are cancelled. 1842 His third opera Nabucco triumphs at La Scala. Giuseppina Strepponi sings Abigaille.

1843 I Lombardi is performed to great success, and Verdi's fame begins to spread. The choruses from 'Nabucco' (see below) and 'I Lombardi' are sung in the streets and become the hymns of Italian patriots and freedom-fighters. The first of many trips abroad takes him to Vienna for performances of 'Nabucco' at the Kärntnerthor Theater. 1844 Immense success for Ernani at La Fenice. Only eight months later I due Foscari premieres in Rome. 1845 Two new operas again: Giovanna d'Arco, the last premiere at La Scala for more than twenty years! Verdi is so indignant about the handling of his works by the Scala management that he categorically forbids Giovanni Ricordi to offer any new operas of his to that house.

(Of course, Verdi's post-1845 operas were played at La Scala, and usually very successfully too, but they never premiered there until 1869, with the triumphant opening of the revised 'La Forza del Destino'.) Verdi doesn't set foot again in Milan (except briefly in March 1848) until 1868. Alzira opens in Naples. Another song cycle is published. Verdi buys the Palazzo Dordoni in Busseto. 1846 Attila premieres at La Fenice. 1847 Macbeth in Florence is followed by I Masnadieri in London. Verdi buys Sant'Agata and work begins on re-modelling it to his requirements. His relationship with Giuseppina Strepponi develops in earnest. Jérusalem is shown in Paris in November. 1848 In March, the 'cinque giornate' - five days of fighting in Milan which drive out the Austrian occupying forces. The Austrian Army succeeds in retaking the city in August, but the 'Risorgimento' gathers momentum.

Donizetti dies; with Bellini dead since 1835 and Rossini 'retired' from the opera stage, Verdi is peerless among Italian composers. Il Corsaro has its first performance in Trieste. 1849 La Battaglia di Legnano premieres in Rome at the beginning of the year: another thinly veiled battle-cry to throw off the chains of foreign rule, the opera is an immediate and immense success in the political climate of the time. The end of the year sees the first Luisa Miller in Naples. Manon Lescaut is just one of the many subjects that remained on the drawing-board in the 1840s... 1850 Although the music is received warmly, Stiffelio in Trieste is not a roaring success due to the controversial subject of the libretto. The period usually referred to as Verdi's 'anni di galera' (the years of hard labour) is drawing to a close. 1851 Rigoletto, the first of what we now call 'the big three: RigTrovTrav', is a triumph at La Fenice.

Verdi and Giuseppina Strepponi move from the Palazzo Dordoni, situated on the main street of Busseto and right under the eyes of the local moral watchers - indeed they encounter a great deal of prejudice because they live, unmarried, under one roof - to the greater seclusion of the Sant'Agata estate. Verdi's mother Luigia Uttini dies. 1853 Il Trovatore is a great success in Rome, while the new La Traviata flops miserably at La Fenice only seven weeks later. Towards the end of the year Verdi and Giuseppina move temporarily to Paris. 1854 14 months after the initial fiasco, La Traviata triumphs at the Teatro San Benedetto, another Venetian theatre. 1855 Les Vêpres Siciliennes premieres - on the occasion of the World Fair in Paris - to muted reviews. 1856 Verdi reworks Stiffelio into Aroldo. His thoughts revolve around King Lear again, but this pet project since the early 1840s (and first seriously tackled in 1850) is never carried to its conclusion.

1857 Simon Boccanegra at La Fenice gets a cool reception. Aroldo premieres in Rimini to polite applause. 1858 Verdi travels to Naples to supervise the new Un Ballo in Maschera; however, the problems with the censors turn out to be so severe that Verdi withdraws the opera entirely and offers it to Rome. 1859 Un Ballo in Maschera in Rome is Verdi's biggest success since 'Il Trovatore' six years earlier. The political situation in Italy, split as it is into many states under the rule of various foreign powers, comes to a head; Viva VERDI (short for 'Vittorio Emanuele, Re D'Italia') is seen in Naples for the first time, expressing the fervent desire for a united and free Italy under King Vittorio Emanuele II of Piedmont. Verdi and Giuseppina are married on August 29 in Collonges-sous-Salève near Geneva, in the then Italian part of Savoy which was part of Piedmont. Verdi is elected to represent Busseto in the Assembly of Parma provinces.

1860 The Verdis begin spending the winter months in the milder climate of Genoa. 1861 Verdi is elected Deputy for Borgo San Donnino and attends the opening of the Italian Parliament. In November, the Verdis travel to St. Petersburg, but the premiere of 'Forza' is postponed due to illness of the soprano. 1862 The Inno delle nazioni is performed on 24th May at Her Majesty's Theatre, not as written with a tenor solo but with a soprano singing the part of the bard. Again Verdi travels to St. Petersburg to supervise the 'Forza' rehearsals and the successful premiere of La Forza del Destino takes place on November 10. 1864 Begins revision of 'Macbeth' for Paris. Verdi is elected member of the French Académie des Beaux-Arts. Florence becomes capital of Italy. 1865 The revised Macbeth is shown in Paris. Verdi stands down from his parliamentary seat. 1866 Composes 'Don Carlos'.

Parts of northern Italy are still under Austrian rule and Garibaldi marches into the Trentino with volunteer forces which include Giulio Ricordi, Franco Faccio and Arrigo Boito. Verdi supports the cause with money to buy guns and ammunition. 1867 Don Carlos premieres in Paris. Both Carlo Verdi, his father, and Antonio Barezzi, his early benefactor and first father-in-law, die. Verdi and Giuseppina take on the guardianship of Filomena Maria Cristina, the 7-year-old daughter of one of Verdi's cousins. 1868 Verdi meets the revered Alessandro Manzoni in Milan, great Italian man of letters and patriot. 1869 The revised La Forza del Destino premieres at La Scala. A new opera house is opened in Cairo with a performance of 'Rigoletto'. Verdi composes the Libera me for the Messa per Rossini. 1870 Verdi agrees to compose an opera for the Egyptian Khedive's new opera house in Cairo (and not for the opening of the Suez Canal, as is often heard). 1871 Rome becomes capital of Italy.

The premiere of Aida is delayed by the Franco-Prussian war. It eventually opens on December 24. 1872 The European premiere of Aida takes place to great acclaim at La Scala on February 8. 1873 Verdi composes a String Quartet while in Naples for a revision of 'Don Carlo' (the Italian form of the title) and a revival of 'Aida'. Manzoni dies on May 22, and Verdi composes a Requiem Mass for him. 1874 The Messa da Requiem for Manzoni is performed at the Church of San Marco in Milan on May 22, with Verdi conducting. In the following years he takes the Requiem to many European cities. Verdi is nominated to the Italian Senate. 1875 The relationship with Casa Ricordi is seriously tarnished by the discovery of 'irregularities' in their accounting. Verdi is furious, but eventually settles for the token sum of 50 000 Lire; it takes a while before friendship and trust resume. 1879 The 'Otello' project is proposed by Giulio Ricordi.

1880 Work on the revision of 'Simon Boccanegra' with Arrigo Boito. The libretto of 'Otello' is taking shape. 1881 The revised Simon Boccanegra premieres at La Scala. 1882 Verdi begins the revision of 'Don Carlo' for Milan. 1883 Richard Wagner dies in Venice on February 13. 1884 The revised 4-act Don Carlo premieres at La Scala. Verdi starts on the composition of 'Otello' and works closely with Boito in the following years. 1886 A 5-act Don Carlo in Italian is shown in Modena on 26th December. The composition of 'Otello' is finished. 1887 Otello premieres at La Scala on February 5; Verdi is made honorary citizen of Milan three days later. 1888 He composes 'Laudi alla Vergine Maria', published 1898 as No.3 of 'Quattro pezzi sacri', and endows a new hospital for poor farm labourers and their families in Villanova, a village near Sant'Agata.

1889 Boito infects him with his passion for riddles and he composes 'Ave Maria sulla scala enigmatica', published 1898 as No.1 of 'Quattro pezzi sacri'. Verdi decides to compose 'Falstaff' and buys a site in Milan for a musicians' retirement home. 1892 'Falstaff' is finished late in the year. 1893 Falstaff premieres at La Scala on February 9, a huge success. Some lasting revisions are made for the premiere in Rome in April. Verdi is made honorary citizen of Rome. 1894 Verdi composes the ballet music and makes some adjustments to the Act III concertato for the French premiere of 'Otello' - this is his last trip to Paris and he receives the Grand Cross of the Legion of Honour. His song 'Pietà, Signor' is published to aid earthquake victims in Southern Italy. 1895 The Casa di Riposo is at the planning stage - the architect is Camillo Boito, Arrigo's elder brother. Verdi begins composing the Te Deum, to be published as No. 4 of 'Quattro pezzi sacri'.

1896 Verdi works on 'Te Deum' and 'Stabat mater', No. 2 of 'Quattro pezzi sacri'. 1897 Giuseppina, his loving companion for fifty years and untiring supporter through the invariable ups and downs, dies at Sant'Agata on November 14. 1898 Verdi now stays at his suite at the Grand Hotel in Milan much of the time, supervising the building of the Casa di Riposo. Teresa Stolz (1834-1902) keeps him company in his last years. Verdi had known 'La Stolz', a soprano from Bohemia, since they first met thirty years earlier. She created Leonora in the revised La Forza del Destino 1869, Aida in the European premiere of Aida 1872, and the soprano part of the Messa da Requiem 1874. 1899 The Casa di Riposo is officially founded.

1901 Verdi suffers an ultimately fatal stroke on January 21; the street outside the Grand Hotel is covered with straw to muffle the noise from horses' hooves, carriage wheels and car tyres. He dies a few days later, shortly before 3 a.m. on January 27. The funeral is a very quiet affair, in accordance with his wishes: 'without music or singing'. A month later his and Giuseppina's coffins are transferred from the temporary buriel ground at the cemetery in Milan to the crypt at the Casa di Riposo. On this occasion - a state ceremony - the funeral cortege is accompanied not only by the immediate family and friends, but also by members of the Italian Royal family and Parliament, civic dignitaries, foreign diplomats and fellow composers (among others Puccini, Mascagni, Leoncavallo and Giordano).

Led by Arturo Toscanini, the forces of La Scala sing Va, pensiero, the famous chorus from 'Nabucco' - joined softly by the voices of the tens of thousands of people lining the black-draped streets, paying their last respects to the man who dominated the Italian musical scene for half a century, the great Giuseppe Verdi. Classical Net - Basic Repertoire List - Verdi Giuseppe Verdi (1813 - 1901) "Of all composers, past and present, I am the least learned. I mean that in all seriousness, and by learning I do not mean knowledge of music." ~ Verdi, 1869 Giuseppe Fortunino Francesco Verdi (October 10, 1813 - January 27, 1901) was born in Roncole in the former duchy of Parma, he first studied music in the neighboring town of Busseto. Then, upon being rejected in 1832, because of his age, by the Milan Conservatory, he became a pupil of the Milanese composer Vincenzo Lavigna.

He returned to Busseto in 1833 as conductor of the Philharmonic Society. At the age of 25 Verdi again went to Milan. His first opera, Oberto, was produced at La Scala with some success in 1839. His next work, the comic opera Un giorno di regno (King for a Day, 1840), was a failure, and Verdi, lamenting also the recent deaths of his wife and two children, decided to give up composing. After more than a year, however, the director of La Scala succeeded in inducing him to write Nabucco (1842). The opera created a sensation; its subject matter dealt with the Babylonian captivity of the Jews, and the Italian public regarded it as a symbol of the struggle against Austrian rule in northern Italy. I Lombardi (1843) and Ernani (1844), both great successes, followed, but of the next ten productions only Macbeth (1847) and Luisa Miller (1849) have survived in the permanent operatic repertory.

Verdi's three following works, Rigoletto (1851), Il Trovatore (1853), and La Traviata (1853), brought him international fame and remain among the most popular of all operas. Operas written in the middle of Verdi's career, including Un ballo in maschera (A Masked Ball, 1859), La forza del destino (The Force of Destiny, 1862), and Don Carlo (1867), exhibit a greater mastery of musical characterization and a greater emphasis on the role of the orchestra than his earlier works. Aïda (1871), also of this period and probably Verdi's most popular opera, was commissioned by the khedive of Egypt to celebrate the opening of the Suez Canal; it was first performed in Cairo. Three years later, Verdi composed his most important non-operatic work, the Requiem Mass in memory of the Italian novelist Alessandro Manzoni.

Verdi's other non-operatic compositions include the dramatic cantata Inno delle nazioni (Hymn of the Nations, 1862) and the String Quartet in E minor (1873). In his 70s, Verdi produced the supreme expression of his genius, Otello (1887), composed to a libretto skillfully adapted by the Italian composer and librettist Arrigo Boito from the Shakespearean tragedy Othello. This was followed by Verdi's last opera, Falstaff (1893), also adapted by Boito from Shakespeare, and generally considered one of the greatest of all comic operas. In general, Verdi's works are most noted for their emotional intensity, tuneful melodies, and dramatic characterizations. He transformed the Italian opera, with its traditional set pieces, old-fashioned librettos, and emphasis on vocal displays, into a unified musical and dramatic entity. His operas are among those most frequently produced in the world today. Recommended Recordings OPERA AIDA Ismail Pasha, Khedive of Egypt, commissioned Contact Item Details...

OPERA AIDA Ismail Pasha, Khedive of Egypt, commissioned Verdi to write the opera for performance in January 1871, paying him 150,000 francs, but the premiere was delayed because of the Franco-Prussian War. Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869, nor that of the Khedivial Opera House (which opened with Verdi's Rigoletto) in the same year.[2] Verdi had been asked to compose an ode for the opening of the Canal, but refused on the grounds that he did not write "occasional pieces." Aida met with great acclaim when it finally opened in December 1871, and it continues to be a staple of the standard operatic repertoire. It appears as number sixteen on Opera America's list of the 20 most-performed operas in North America.[3] There are many recordings, and it is one of the most popular operas. Its story, but not its music, has been used as the basis for a 1998 musical of the same name written by Elton John and Tim Rice.

The opera has been adapted for motion pictures on several occasions, most notably in a 1953 production which starred Lois Maxwell and Sophia Loren, and a 1987 Swedish production. In both cases, the lead actors lip-synched to recordings by actual opera singers. Medical Education Department Ismailia The musical accompanying the introductory part of our page is from Opera �Aida� by Giuseppe Verde. Verdi was commissioned to compose his famous opera, "Aida" for the opening ceremony of the Suez Canal in 1969. Ironically, Verdi did not complete the work in time and "Aida" premiered at the Cairo Opera a year later. On November 17, 1869, the Canal was officially inaugurated by Khedive Ismail in an extravagant and lavish ceremony. French, British, Russian, and other Royalty were invited for the inauguration which coincided with the re-planning of Cairo and an Opera House was built.

A highway was constructed linking Cairo to the new city by the Suez Canal: Ismailia Attached a map for the Ismailia The Ismailia Governorate consists of an area of approximately 4482.8 km2 or 0.46% of Egypt's area, along the west bank of the Suez Canal. It has 70 km along the east coast. The Ismailia Governorate is the capital of the Canal region where the Suez Canal Authority has its headquarters, and where the Suez Canal University is established. Ismailia is located on Lake Timsah along the coast of the Canal, half-way between Port Said and Suez. The Governorate consists of five cities; Ismailia, Fayed, Al-Tal Al-Kabeer, Qantara west and east. In the early days, Ismailia was called Timsah Village, but it was subsequently named after Khedive Ismail of Egypt. According to the census conducted in 1996, the estimated figure of the population was 715,000 inhabitants (58% urban 42% rural), or 1.21% of Egypt's.

Ismailia City is approximately 120 km from Cairo by the direct route "desert highway" or 135 km by the countryside road. All parts of the Governorate are joined with an integrated network of roads. This enables traffic to join the city of Ismailia with its suburbs. The Ismailia Governorate has several ancient and antiquity areas: Tal Al-Maskhota: It is in Abu Seir village, and was called so when workers found statues there in 1886. But in fact this place was "Baraton Ai" town. There is god Aton temple made from basalt, a Ptolemies alabaster coffin from the Ptolemi age, which is moved now to Ismailia Museum. It is one of the most important tourism places. 8:18 PM 1/8/2005 El-Timsah Lake Tal Al-Sahabe and Al-Azba 16: It is about 2 km south Abu Seir. There are monuments from the ages of Hyksos, Greek and Roman.

Tal Al-Naaima and Al-Gamaleen: It is 2 km south Al-Nafesha and Ismailia/Suez road. They are on the course of the Pharaonic canal "yenkao". East Qantara town: It has Al-Riah route, Telal-Dafa, Afran, Oum Atla, Al-Sabtia and Al-Saidi. They are important ancient places, existing on Al-Biloz which was one of the Nile branches. There is also the castle of Basmatic of the 26th dynasty. Tal Hassan Dawod: It is south Al-Baalow Al-Kobra village in Al-Dawaida village, about 4 km far from Ismailia. It is one of the places dating back to the pre-historic age and beginning of the dynasties. Its tombs were discovered in 1989 through 1992. There are 350 tombs dating back to the beginning and before the dynasties age. Tal Al-Quaa: It is south Al-Kassaseen village and about 2 km south Mashage village, dating back to Hyksos age.

Tal Al-Ratabi: The most ancient place in Al-Tal Al-Kabeer. There were discovered a huge fence, a temble and tombs dating back to the Middle Age. Tal Abu-Nashabe & Al-Hatab: They are south Tal Al-Hatab in the old kassaseen, on the Pharaonic canal which is known as "cisostreese" that was inaugurated during king Nakaw age of the 26th dynasty. Al-Tal Al-Kabeer and Al-Tal Al-Sakheer: They are tourist sites, also there are Tal Al-Bahr, Tal El-Sheikh Salem and Oum Bardy and Tal Al-Hear. As to tourism and places of interest, Ismailia is strengthening its position as a city of the future in tourism field. There are lots of opportunities to have recreation, but there are also chances to relax in peaceful natural surroundings. It is undoubtedly the place to be in. The Ismailia Regional Museum was established in 1932. It contains Pharaonic, Islamic, Greek and Roman collections from different periods. Free Post or Area no 6 is a marvelous peaceful spot overlooking the Suez Canal.

It witnessed many battles during the Arab-Israeli conflict. It was the site where in 1969 an Israeli shell killed Lieutenant General Abdul-Monaim Reyad, the then Egyptian Chief-of-Staff. The memorial of 6 October, 1973 Victory was inaugurated on 5 October, 1992 on the east bank of the Suez Canal and was modeled after a Bayonet. Mallaha Park is a truly magnificent park covering an area of 500 acres, planted with varieties of rare flowers, trees and palm that belong to many overseas environments. Lake Timsah is known for its calm water on which many beaches are located and where there is opportunity for many water sports. It covers an area of 14 square km. The beaches that overlook the lake are Moslem Youth, Fayrouz, Melaha, Bahary, Taawen, in addition to the Suez Canal Authority beaches. The Bitter Lakes are truly impressive lakes where the governorate has encouraged tourism by establishing new tourist villages such as: Morgan, Mashrabeya, Canary, Bullman, Safa and many other beaches. Tablet El Shagara is 10 km from Ismailia.

It was the headquarters of the Israeli enemy leadership during the October war. The fields of investment are clothes and food industry, electrical appliances industry, land cultivation, animal production projects, establishing tourist villages, clays, glasses and crystal industries. Natural resources are sands, pebbles, lime stone, gypsum and pebble soil. The most important crops are clover, maize, sesame and wheat. Its fish catch amounts to 81.84% of the total figure for the country. The National Day is 16 October, as on that day in 1951, people of Ismailia ignited spark of resistance against the British occupation. The city is clearly divided by Sharia Sultan Hussein (street). One one side (east) the city is very peaceful and quite, while on the other side is a huge urban area. An Arizona winter treat of Verdi's 'Aida', enjoyed by Maria Nockin An Arizona winter treat of Verdi's 'Aida', enjoyed by MARIA NOCKIN Egyptian Khedive Ismael Pasha wanted to join European countries in the nineteenth century culture competition. He had been educated in Paris and wanted his country to adopt European ways. He wrote: 'My country is no longer Africa.

We are now part of Europe. It is therefore natural for us to abandon our former ways and to take up a new system adapted to our social conditions.' In 1869, he asked Giuseppe Verdi to compose an 'ode' for the opening of the Suez Canal. Verdi replied that he did not write 'occasional pieces'. The Egyptian opened his new Cairo opera house with Verdi's Rigoletto. Nevertheless, he still longed for an original piece from the composer. When Egyptologist Auguste Mariette showed the Khedive a scenario for an Egyptian opera, he was delighted. Mariette then sent it to Camille du Locle, an acquaintance of his who had worked with Verdi on the libretto of Don Carlo. The composer showed some interest but did not give a definite answer, even when offered an astronomical fee. Only when he heard that Richard Wagner might be asked to compose the opera did he finally agree. Verdi was to have the work finished for a January 1871 Cairo première. However, because the scenery was being constructed in Paris, the performance was delayed eleven months by the outbreak of the Franco-Prussian War.

Drew Slatton as the victorious general, Radames, in Phoenix Opera's 'Aida'. Photo © 2009 Victor Massaro On 30 January 2009, Phoenix Opera presented Verdi's Aida at the Orpheum Theatre. Albert Sherman, best known for his work at the New York City Opera, directed the traditional production. The set from Actor's Theatre of Phoenix, which was designed by David J Castellano, had few opportunities for any sort of real change, but Paul A Black's lighting did a great deal to vary the background with atmospheric effects. Grace Echauri as Amneris in Phoenix Opera's production of 'Aida'. Photo © 2009 Victor Massaro Susan Allred's costumes, originally designed for Utah Opera, were simple, functional and appropriate. It's a long time since Arizona Opera staged this opera, but their supertitles, cued by Katherine Kozak, worked very well. Currently, Aida is often played with only one intermission but, possibly in an attempt to follow tradition, the Phoenix performance had three lengthy pauses.

Aida (Marie-Adele McArthur) convinces Radames (Drew Slatton) to reveal state secrets in Phoenix Opera's production of 'Aida'. Photo © 2009 Victor Massaro New Zealand born soprano Marie-Adele McArthur was a passionate Aida with a powerful voice that allowed her to be easily heard over chorus and orchestra. She sang the more lyrical Nile Scene with plaintive silken tones. It would have been wonderful to have heard her with the original tenor, Todd Geer. Unfortunately, he was taken ill and Drew Slatton took over the role of Radames at the last minute. Slatton proved to have blowtorch high notes but he sang most of the role forte with some lapses in intonation and almost no nuance. There seemed to be little chemistry between him and McArthur. Grace Echauri as Amneris in Phoenix Opera's production of 'Aida'. Photo © 2009 Victor Massaro Mexican mezzo-soprano Grace Echauri gave a lyrical rendition of the role of Amneris in which she acted with her mellifluous voice as well as with her lithe body.

The combination was an enthralling version of the haughty Egyptian princess sung with an opulent musical palette. Although she did not have enormous vocal power for the Judgment Scene, she tugged at the audience's heartstrings when she pleaded for the life of a man who did not return her love. Grace Echauri as Amneris in Phoenix Opera's production of 'Aida'. Photo © 2009 Victor Massaro As Aida's father, Amonasro, the King of Ethiopia, Donnie Ray Albert was the wonderful singing actor we know from his performances at other opera companies and on DVD. He was a charismatic king who commanded the stage whenever he appeared. Singing with robust and burnished tonal colors, he energized his lines with the force of his conviction. Albert is a joy to watch in any of the roles he sings. Aida (Marie-Adele McArthur) implores her father Amonasro (Donnie Ray Albert) not to make her ask Radames to be a traitor to his country.

Photo © 2009 Victor Massaro Veteran Russian bass Mikhail Svetlov was a credible Ramfis who sang with well-supported ringing tones and Andrew Gray was a dramatically alert King of Egypt. Francisco Renteria, the Messenger, sounded like he might go on to larger roles, while Tregoney Shepherd was a sweet sounding Priestess. Together with the chorus and supers, choreographer Lisa Starry's dancers filled the stage in the second act, but they could have performed with better synchronization. The chorus sang with full voices, however, and made up for the lack of larger forces in the Triumphal Scene. Drew Slatton as Radames and Andrew Gray as the King in Phoenix Opera's 'Aida'. Photo © 2009 Victor Massaro Conductor John Massaro's orchestra was small for this opera, but each member played valiantly and the result was a thoroughly enjoyable rendition of the work. A larger orchestra and chorus would have been welcome, but Aida is a great masterpiece and the luxury of seeing it in Arizona this winter was a special treat.

Copyright © 17 February 2009 Maria Nockin , Arizona USA Aida - Giuseppe Verdi - YouTube 1,700 views Last updated on Feb 9, 2014 (Italian: [aˈiːda]), sometimes spelled Aïda, is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario often attributed to French Egyptologist Auguste Mariette, although Verdi biographer Mary Jane Phillips-Matz has argued that the scenario was actually written by Temistocle Solera. Aida was first performed at the Khedivial Opera House in Cairo on 24 December 1871, conducted by Giovanni Bottesini. Isma'il Pasha, Khedive of Egypt, commissioned Verdi to write the opera for performance in January 1871, paying him 150,000 francs, but the premiere was delayed because of the Franco-Prussian War.

Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869, nor that of the Khedivial Opera House, which opened with Verdi's Rigoletto in the same year. Verdi had been asked to compose an ode for the opening of the Canal, but declined on the grounds that he did not write "occasional pieces". Metastasio's libretto Nitteti (1756) was a major source of the plot. less (Italian: [aˈiːda]), sometimes spelled Aïda, is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario often attributed to French Egyptologist Auguste Mariette, although Verdi biographer Mary Jan... more Tickets for Aida at the Verona Opera Festival > Seating > Tips & practicalities > About the Operas > Transport & arrival > Introduction > Verona hotels In Act I we are in a hall in the Egyptian King's palace, with the Egyptians unaware that slave girl Aida is in fact the daughter of the King of Ethiopia.

He, Amonasro, has led an army into Egypt to save Aida. The jealous Amneris is aware of the blooming love between Aida and Radames, and she persuades high priest Ramfis that Radames has been chosen by Isis to lead the forces against Amonasro. Dilemma is at the heart of opera and, of course, Aida is torn between love for her father and for Radames. In Act II we are in Amneris's chamber. Amneris falsely tells Aida that Radames has been killed in battle, thus tricking Aida into declaring her love for him. Again Aida is torn: her father lives, but her love is 'dead'. But Radames returns in victory. The King of Egypt says that Radames may choose his prize. Enter the Ethiopian prisoners, King Amonasro (unrecognised by the Egyptians) among them. Amonasro says that the Ethiopian King has been killed in battle. Radames asks that the prisoners be freed, as a gift to Aida. The Egyptian King agrees and announces the betrothal of his daughter to Radames. The Ethiopians meanwhile remain hostage.

In Act III we are on the banks of the Nile, near the temple of Isis. Amonasro forces his daughter to learn from Radames the position of the Egyptian army. His love overcomes his sense and he does so. Amonasro reveals himself and flees; Radames is dishonoured and despairing. In Act IV, Radames is in prison. Amneris tries to save him but he rejects her and is sentenced to die. Aida has been hiding in the crypt and crawls into the tomb to die with her love. Amneris weeps. Background Verdi had taken his usual forceful role in the production of Aida. He tutored the singers at La Scala through their roles for the February 1872 debut at La Scala; he worked with the orchestra; he even selected the designer for the piece. Aida wasn't universally well received. Some critics found the opera an odd mix of old and modern but - in that highpoint of high opera, the late 19th century - Aida was a huge hit. In the next ten years it would play at 155 houses the world over.

And, in a neat piece of history for us, it was the inaugural production at the first annual opera festival at the Arena di Verona in 1913. Aida was been a popular and critical hit ever since. As we will physically send you your tickets (as opposed to a voucher via email), please be sure to order your Verona tickets independently; to put that another way, before completing this order, please ensure that your cart contains solely tickets for the Verona Opera Festival - other tickets will need to be ordered separately. Thank you. Courier and handling charges Your tickets will be delivered (from Italy) by courier service. Please note that the prices above don't include the handling charge and courier which will be added while you complete your order and before you enter payment details. Current delivery charges are typically €20 Euro via courier*; shipping time is normally 2-3 working days. We also levy an agency handling charge on each ticket. * This rate will apply to the vast majority of orders, especially from Europe or North America. On the (very rare) occasions when the destination is an area that falls under a special-rate courier band, tickitaly reserve the right to reflect this in an increased charge.

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Question: Which opera did Verdi supposedly compose for the opening of the Suez Canal?
Answer: Aida