Famous Duet from "AIDA"

Radio Record, Volume V, Issue 28, 22 January 1932, Page 3

Famous Duet from "AIDA"

featured on | 2YA Operatic Programme

On Monday, January 25, a programme of operatic excerpts will be presented from 2YA, under. the direction of Signor Lucien Cesaroni, the celebrated operatic bass. A feature of this entertainment will be the presentation of the famous duet from the third act of Verdi's "Aida."

HE above concert will be an outstanding one, featuring as it will many of the gems of classical music. Associated with Cesaroni will be Signora Bulmas. the Italian prima dorina and dramatic operatic soprano. She is an associate artist of the Cesaroni operatic trio, and has a distinguished reputation in Italy and elsewhere. A native of Rome, she has been trained under the famous maestro, Cesare Ferrarelli, and has ap-

peared at the National Opera, Rome, as Michaele in Bizet’s opera, "Carmen," receiving from discriminating critics in that city numerous eulogies and praiseworthy comments. Her voice, ranging over two octaves, is described as possessing a rare beauty and range of colour, and warmth indispensable for a first-class dramatic soprano. The signora has sung in the following grand operas :- "Manon," "La Boheme." "Tosca," "Madame Butterfly," "Aida," "Pagliacci," "Cavalleria Rusticana," "Faust," "Mephistopheles," "Ta Traviata," and "Force of Destiny." At a recent operatic performance in Sydney under the distinguished Russian musician, Vinogradoff, the signora sung the title role in Verdi’s spectacular "Aida" with great success. She, with Signor Cesaroni as Amonasro, will sing at 2YA on Monday, January 25, in the great duet from "Aida," Act ITI. She will also sing the well-known prayer of "Tosca," and they will be associated in several other duets. Also featuring on the programme will be Mary Cooley, the brilliant dramatist, who has previously been heard from 2YA, and as a result has an enviable reputation as an

entertainer. Listeners will remember her performance in "Joan of Arc" and in "The Lady and the Tiger." She will be heard to-night in an ©. Henry story. _-

The opera, "Aida," from which comes the duet featured on Cesaroni’s programme, is one of Verdi’s most successful works. He was almost 60 when it was written, and at the time was about to retire. The Viceroy of Egypt was to open the new Grand Opera House in Cairo and wanted a new opera for its dedication. Verdi seemed the logical composer to write it. A work dealing with the past grandeurs of Egypt was to be the subject to which Verdi’s genius seemed specially fitted. Verdi, at first reluctant to prepare the opera, soon became interested in it, and when it was completed he realised that it would be the greatest work of his career. He little dreamed that 16 years later he was to bring forth an even greater one-‘Falstaff." The opera was successful from the first. It lacked none of the composer’s earlier fire, but it was more mature in style and more convincing in dramatic power. Its vivid plot, its golden pageantry, its richness of melody and harmony, and of orchestral scoring marked it not simply as one of the best of Verdi’s works, but as one of the greatest of all times. And years have rather increased than diminished this reputation. The music is bold and romantic, expressive of vanity, pride, anger, jealousy and terror; of beauty, mystery and ritual. TE opera is in four acts, and in the opening scene Rhadames, Captain of the Guard of the King of Egypt, learns that the Ethiopians are about to rise and that the sacred Isis, the omnipotent goddess of his people, has chosen a certain brave young warrior to command the army to be sent against them. Rhadames dreams not only of war, but also of his victorious return to his beloved Aida, a slave captured from the very people he proposes to attack. His musings are broken by Amneris, the King’s daughter, a woman whose demure aspect conceals a passionate, highly-charged nature. Aida approaches and Amneris, her wits quickened by jealousy, realises that she, a royal princess of Egypt, is being ignored for a foreign-born slave. A messenger enters bringing the news that the Ethiopian invasion is an accomplished fact, and that the enemy attack under Amonasro (father of Aida). Amid excitement Rhadames is appointed leader. At the end of Act I, Aida is left alone. She blames herself for the words of encouragement she has given the (Concluded on page 23.) j

Aida"

(Continued. from page 3.) hero about to set forth against her own father, yet confesses to herself the great power of her love for the Captain of the Guard. The second scene is in a temple of the Vulean, where Rhadames has come to seek the blessing of the gods. He is invested with the sacred armour, and as the pristesses go through the mystic dance, the curtain falls. At the opening of Act II Rhadames has been away for some time, and Amneris is at a loss to understand his prolonged absence. Aida approaches, and Amneris prepares for a moment of ,réevenge. She treacherously consoles {the girl just long enough to gain her ‘confidence, and then when the secret is Mut she turps upon her like a scorpion, tad then confesses her own love for the hero. Aida is dazed, and pleads desperately for pity. Amneris then threatens her with death, but refines upon this by demanding that she shall witness Rhadames’s triumphant return, and his obeisances to herself as she sits beside her father, the King. The scene changes to a gate ofthe city of Thebes, where the King and his court are assembled to receive and welcome the couquéring army. The pomp and splendour of this scene are unsurpassed by anything in the range of opera, The Egyptian troops enter, preceded by the trumpetérs, chariots of war, the dancing gitls carrying treasures, and finally Rhadames, riding in triumph under a canopy drawn by ‘ twelve slaves. The effect is magnificent beyond all description. The King descends from his throne and embraces Rhadames, and at. his own command Amneris crowns the victor, who is asked to name any boon he desires.

we! At that moment the prisoners enter, including Amonasro, who is dressed as a plain offeer. Aida erys out "My father," but he signals. her not to betray his rank. Amonasro then acknowledges his daughter, admits defeat, and describes how the king of the Ethiopians, "transfixed by wounds, died at his feet." Amonasro's bluff, soldierly manner coimends itself to the king. and the populace, who beg his release. ‘The priests. demand his death, with the other captives. Rhadames pleads for merey, recalling the King’s promise of whatever he desires, and demands the lige and liberty of the Ethiopian. The KEng yields, stipulating that Aida and Amonasro remain as his hostages. The King of Egypt announces that Rhadames should have for further reward the hand of Amneris. The third act opens on the banks of the Nile, It is a moonlight night, the temple of Isis rising beyond the palm trees in the background. Coming from the temple is heard a sweet mysterious chant of praise, sounding portentious, us before » storm. A boat approaches with Rhadames and Anineris, who has come to give thanksgiving for victory and to pray that Rhadames_ shall be hers forever. As the pair enter the tuple Aida comes cautiously forward. She has heard that Rhadames himself muy appear. She sings a tender and plaintive despairing song of the loyely land she may nveyer see again. ‘Turning, she sees her father who sees in her love for Rhadames a means of escape and yictory. He plays, eyen as. Amneris

TTS SUMS SUS LLL LULL Sa played, upon the feelings of the innocent girl, telling her ulmost brutally that he knows of her love and of the princess's jealousy. Agonised, sbe eries out that she is in the power of Amneris, and he tells her how she may gain happpiness with her lover and return to Ethiopia. The proposal is an ugly one, and the way for it is made by a harrowing picture of Ethiopian treatment of their conquerors. That is too much for the girl, who recoils. Then follows a terrible scene (the one heing broadeast), in which the woes of her people are laid upon her own head. She cries out for pity-but what are the woes of a girl beside the ambitions of a king and the fates of peoples? "Our people urmed are waiting for the signal. Now strike the blow. Success is sure; naught but one thing ts awanting, That we know by what path will march the foe. Aida: Who that path will discover? Amon.; Rhadames, whom thou enpecteth, will tell thee. He commands the Eguptians. Aida: The thought is hateful! What promp’st thou me to dof ‘Then Amon-

TMP MIUNS TESTS Hoe LL? usro, with savage rage, draws a picture of the ruin that has been wronght by the bgyptians. Aida in terror calls. "Ah, father!" aud he_repulses © her"Oallcth thyself my daughter? Torrents of blood shall crimson flow"’-and another more terrible pictute than before is drawn-‘Vhou hast thy country slain." Aida in her terror calls for merey, but Amonasro goes on with the terrible picture. "Thy mothers hand. see there ayain stretched out to curse thee And uttering a cry of anguish Aida sinks to the ground. "Spare me, spare me, spare me," and the ‘cello rolls out a plaintive phrase. ag if in sympathy. Aida is dragged to her feet, and Amonasro gains his way. ' "Oh, thei

my country has proved the stronger. My country’s cause and love ig strong!" Rhadames is then heard appfoachite, and Amonasro concéals himself behind the palms. "Have.courage, here he comes. Here f will remain." The hero seeks to embrace his beloved, but she bids him prove his affection by fleeing with her. He. resists, but the glainour of her presence, the spell of the night, and the desperate prospects of his marriage with Amneris, weakens his resolve. He gives way, and in yielding lets slip the information that the Egyptian army must go out by the pass of Napata. Amonasro then leaps forth, and points out that he is guiltless, and that his betrayal is Fate. He paints an attractive picturé of what lies for them all in Bthiopia, and Rhadames, a8 a man, is done. : But there has been anothér. eavésdropper, for Aninerfis has overheard. Mad with jéalousy, she rushes in and. denounces the pair, her wrath blazing forth, She declares Rhadames is betraying his country, his gods, aid hetself, So blind is her passion that Amonasr6 éseapes with Afdd. In the next act Mhadames is a ‘prisone® awaiting a traitor’s. punishment, but, Amneris, _ still passionate, hotblooded and vindictite, résolres to try to bring Rhadames to love her.. She offers to save him if he will renounce Aida, but he refuses, and is told that death is the alternative. When Rhadames has gone, Amneris cries out against the very fate to which she has sent him. Throughout the trial Rhadames remains silent, and is sentenced to denth by being buried alive beneath the altar of the gods whose noble attributes. faith, and justice, le has betrayed. Amuneris departs in wild despair, her last hope gone, for nothing no\ can suve the man she loves from the terrible doom which awalts him beneath the temple floor. The setting of the last scene is one of the most remarkable opera. Above, the temple full of light, where the ceremonies continue immutable in the sanctuary of the indifferent gods, below two human beings dying in each other's arms. The hero, dedicated to death, belleves himself alone, and he laments, not x suffering death, but separation from his beloved. As the last sounds die, he sees among the shadows the outline of a human figure. Tt is: Aida, "ome to partake of death beside him. Iter futher is slain and his troops seattered. and she has crept to earth like a stricken unimal, her heart foresecing the sentence to be passed on Rhadames. The great duet between the two is one of the supreme moments in all opera. Its melody is in broad, calm phrases, tranquil as the sea of eternity. Together they bid farewell to earth, its sorrows, and avait the dawn.