Up Next: The politics of Verdi’s Aida

In his long career, Giuseppe Verdi wrote an astonishing twenty-eight operas, based on diverse sources — from Shakespeare to Victor Hugo to real world history. Despite the wide variety of stories, many of his operas share common themes. The relationship between father and child, for instance, is highlighted in Don Carlo, Rigoletto, Simon Boccanegra, La traviata, and several others. Fate and destiny, issues of class and social station, and torn allegiances all feature prominently as well. Perhaps due to the complex political landscape of his time, Verdi’s works also explore socio-political oppression and abuse of power.

This November, BLO presents one of Verdi’s most beloved works: Aida. Delivered through a story of love, betrayal, and sacrifice, Aida reflects on the human casualties of an oppressive regime.

Verdi’s Italy?

Many of Verdi’s operas were written during a period of tremendous political upheaval in Italy, known as the Risorgimento. Before Italy became an independent nation, the country was fragmented and largely under foreign rule, mostly by the Austrian Empire. Literally meaning “rise again,” the Risorgimento was a movement that worked to unify the various Italian states into a single nation. The Kingdom of Italy was established in 1861, and by 1870, the country became fully unified.?

Verdi wrote the bulk of his works prior to 1870, and many seized on the political themes in his works. Though it wasn’t his explicit intention, Verdi’s operas became associated with the movement for unification through their reception. This link was cemented when Nabucco, which was inspired by the real Babylonian king Nebuchadnezzar II, premiered in 1842. The opera’s famous chorus, “Va, pensiero,” expresses the Israelites’ longing for freedom from captivity, and it became an unofficial anthem for Italians who yearned for independence. His link with the Risorgimento was so strong that “Viva Verdi” became a patriotic slogan, doubling as an acronym for “Viva Vittorio Emanuele Re D’Italia”, a rallying cry for the supporters of unification.

What does this have to do with Aida??

Aida tackles a number of thorny political themes, most specifically the tension between imperial power and national identity. Aida, an Ethiopian princess enslaved in Egypt, embodies this conflict as she navigates her dual loyalties. Her love for Radamès, the Egyptian military commander, stands in stark contrast to her duty to her father and her homeland. Aida's internal struggle reflects the broader political tension of the era in which it was written, parallelling the struggles of nations under foreign domination. Verdi’s portrayal of Aida’s divided loyalty is a meditation on the sacrifices individuals make when caught between love and national duty, as well as the way imperialism disrupts personal and national identities.

The Egyptians' conquest of Ethiopia is celebrated in grand scenes, such as the “Triumphal March”, which symbolizes the empire's military might and grandeur. However, Verdi complicates this portrayal by emphasizing the human consequences of such imperial endeavors. The suffering of the Ethiopian captives — and Aida’s personal anguish — stand in stark contrast to the grandeur of Egypt’s celebrations. Verdi’s depiction of these dynamics critiques the glory of conquest by highlighting the emotional and physical toll on the subjugated.

Aida has been a popular part of the operatic canon for over 150 years, and it’s easy to see why. Its exploration of timeless themes — love, loyalty, and the human cost of power — continues to resonate with audiences today, making it a must-see for seasoned opera lovers and newcomers alike. As BLO brings Aida to the stage this November, don’t miss the chance to experience this musical masterpiece!.

Thank you for reading CODA! Coda comes from the Latin word for “tail,” and in music, it indicates an additional passage at the end of a piece, a final flourish that complements what’s come before. CODA goes beyond the curtain call to explore this unique and astonishing art form. Whether you’re a first-time opera-goer or a seasoned audience member, CODA is for you. Biweekly, we’ll enhance your experience of opera with behind-the-scenes highlights, educational articles, listening lists, and much, much more!?

Tickets are on sale now for our star-studded 2024/25 season! Featuring Lawrence Brownlee and John Holiday in Mozart’s Mitridate, re di Ponto; Michelle Johnson and Morris Robinson in Verdi’s masterpiece Aida; Anthony Roth Costanzo in Vivaldi’s The Seasons; and Brandie Sutton and Jamie Barton in Rodgers & Hammerstein’s American classic, Carousel.

Want to learn more? Sign up for our mailing list to stay up to date on all things BLO.