By: Nour Al Hoda Fouad
Cairo Opera House dedicated four days of December to present the legendary opera "Aida".
"Aida" is an epic about love, patriotism, and conscience's conflict. It is a famous Egyptian story carrying a universal character. Its topic is about a legendary love story, during the Pharaoh's era, between an Egyptian army leader and an Ethiopian princess enslaved.
The epic was written by the French Egyptologist August Mariit after he found ancient manuscripts about the mentioned story. Afterwards, French Camille du Locle converted it to poetry. Genius Giuseppe Verdi then musically created it in Italian; Antonio Ghislanzoni, on the other hand, composed poetry.
Opera Aida was exclusively presented in 1871. After its presentation in Cairo, Opera Aida was exhibited on the international European theaters' stages. Success that Opera Aida has been enjoying is unbelievable. Spectators from all around the world are always eager to attend it. Till nowadays operatic groups, worldwide, always compete to present it in different ways.
Finally, it was ready to be publically preformed in 1870. Kepe Ismail supported the whole process, as he wanted to present Opera Aida at the Suez Canal's opening ceremony in 1869. Worth noting is that the Cairo Khepal Opera House was specifically built to celebrate the Suez Canal's opening, including Opera Aida's exposition. Unfortunately, by the time, Opera Aida was not ready for exhibition and was replaced by Opera Rigoletto.
Being an operatic work with an Egyptian taste, Cairo Opera House is always keen to present it almost regularly. At the Cairo Opera House's ticket windows, you can book your ticket at the event's day. The price varies between 70 EGP to 150 EGP, depending on the seat you select, whether your seat would be located at the hall, at the second lounge, or at the top lounge. Dress code for both men and women is formal. In case men are not wearing cravats, they could borrow ones. Rule can somehow be broken, but not to the extent of wearing sporty outfits.
Many years have passed on the first presentation of Opera Aida, then it was preformed numerous times, even though, at every Aida's concert you will be surprised how the Grand Theater is full. The show contains four chapters interrupted by two rest sessions. Once you sit, you will enjoy a four-hour opera that includes ballet and soprano singing.
The secret behind this epic is the conflict that drives all its heroes to a decisive destiny. Every scene drives the spectator to ask several questions as if the matter was of his won. While you are watching you would be wondering: did the Ethiopian princess prove wrong, when she fell in love with the Egyptian armies' commander, bearing in mind that Egypt was considered at the time her country's enemy?! Was Radames, great national leader, not on the right track, when he loved a woman from Ethiopia, a love story that killed him, as he was accused of betrayal?! Was the Egyptian princess Ameneres, who suffered doubt and jealousy, unfair with her fiancée, who chose an Ethiopian salve?!
The answers to these questions chase inside us the difficulties we face while making decisions regarding life. Between love and hatred, the real criminal could not be identified. It seems that love and hatred equally bear the responsibility of Opera Aida's tragic end. At the show you will feel that hatred stems from love, as of love is the judge, criminal, and executioner at the same time. As the events escalate, loss seems to be a must.
Although all characters resort all the time to the god, after all human solutions become meaningless, to create miracles that only a god can grant, the god seems to be always absent as if he wants to purify them all through pain and suffering.
Despite of Opera Aida's painful side, spectator's sentiment will be absorbed, he will become himself a judge and rival against all characters, at the same time. After contemplating Aida and Radames' buried alive, spectator will pity them. Surprisingly, spectator will sympathize with Ameneres, as she was enduring regret, pangs of remorse, and her heart was hurt due to her fiancée's loss.
Conscience was present in all scenes and it could be felt though dialogues. However, the final vision will differ from one spectator to another. You may suspect that Aida is a spy, as she hid the fact she is Ethiopian king's daughter. Aida accepted to utilize her lover to know his secrets about war. Thus, Radames betrayed his country. Nevertheless, Aida's conciseness seems hurting her, through the dialogue, as she cared only about the sake of her country and lover together.
Aida was a victim of a severe moral conflict since her was sent to war. Subconsciously she prayed for her lover to return victorious, bearing in mind that he was fighting against her father, the king, and her family. She seemed weak, hesitated, lost, and suffering, especially when she confronted Ameneres, and when comparison between both women was unfair.
Radames defeated his enemies and returned with Aida's father enslaved. The Ethiopian king asked Aida to know confidential secrets about war from her lover. At the beginning Aida refused. She then only accepted to win her lover and prevent him from marrying the pharaoh king's daughter Ameneres.
On one hand, you may also think that Radames is a betrayer, as he revealed critical secrets, about his country, to his lover. On the other side, you will see him suffering because of the interior conflict between his patriotic duty and his heart that was given orders to love Ameneres. No wonder, you may believe that he is a naïve man who always loved Aida, was happy about her escaping death, although she was the reason behind his people accusing him of betrayal, and his people burring him alive.
Radames suffered this end, although in a previous scene celebrating his triumph, he appeared as a great leader who managed to protect his soil and defeat enemies. In this scene all his people, including the army and priests, were hailing his victory, while enslaved enemies were asking forgiveness in subservience. Nobody knew that amongst slaves was Aida's father, Ethiopia's king.
One of Opera Aida's most wonderful scenes is the one about double judgment. Ameneres appeared in a black outfit instead of wedding costume, imprisoned behind moral bars, and judging herself as, out of love and jealousy, she drove her lover to a dramatic destiny. At the background you will hear Radames's trial. When charges was directed against him, instead of defending himself, Ameneres was responding defending herself in regret and sorrow, as she drove her lover to death, then she was cursing priests and their judgment.
Music played managed to incarnate different emotions: love, hatred, anger, deep pain, victory, proud, patriotism and glory. Music was also heard through prayers and religious rituals. Egyptian instruments were used to express the soul of the pharaoh story. The instruments varied between aero-phones, trumpets, and string harp. The melody was so effective in the famous scene about victory, where the rhythms expressed strength and greatness.
Speaking about decoration, it showed the pharaoh era's splendor. The way temples, scenes of gods, royal palaces, famous pharaoh costumes, inscriptions, and distinctive accessories were showed, served as a ticket to travel in time and space to the story's era. The theatre's spaces were used perfectly to make decoration shine. Visual arts were utilized to impress and entertain the viewer.
Last but not least, the show was under the supervision of Iman Mostafa, and presented by Cairo Opera's group, that consisted of the following teams: operatic national, orchestra, ballet, and coral. Orchestra was directed by David Krishizi, lightening by Yasser Shaalan, decoration was designed by Mohamed Hagag, dances by Armenia Kamel, and director was Abdel Moneem Kamel.
The show's heroes were soprano singers: Iman Mostafa, presenting Aida two days, and Michi Nakamaro, performing the same character the other two days. Radames was also interpreted by both: James Lee and Dario Di Fitri. Gehan Fayed, Jouly Faizy and Amina Khairat played the role of Ameneres.
Translator: Maydaa Abo El-Nadar
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