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85-630: Aida is an opera by Giuseppe Verdi. Aida or AIDA may also refer to: Aida Isma'il Pasha , Khedive of Egypt, commissioned Verdi to write an opera to celebrate the opening of the Suez Canal , but Verdi declined. However, Auguste Mariette , a French Egyptologist , proposed to Khedive Pasha a plot for a celebratory opera set in ancient Egypt. Khedive Pasha referred Mariette to theatre manager Camille du Locle , who sent Mariette's story idea to Verdi. Eventually, Verdi agreed to compose an opera based on that story, for 150,000 francs. Because

170-480: A 12-year period, including the fast-paced Rowan & Martin's Laugh-In . With the variable quality of Kinescopes, networks looked towards alternative methods to replace them with a higher degree of quality. Programs originally shot with film cameras (as opposed to kinescopes) were also used in television's early years, although they were generally considered inferior to the big-production live programs because of their lower budgets and loss of immediacy. In 1951,

255-476: A 1953 production which starred Lois Maxwell as Amneris and Sophia Loren as Aida, and a 1987 Swedish production . In both cases, the lead actors lip-synched to recordings by actual opera singers. In the case of the 1953 film, Ebe Stignani sang as Amneris, while Renata Tebaldi sang as Aida. The opera's story, but not its music, was used as the basis for a 1998 musical of the same name written by Elton John and Tim Rice . The opera has been portrayed in

340-403: A 1955 performance conducted by Tullio Serafin with Maria Callas as Aida and Richard Tucker as Radamès and a 1959 performance conducted by Herbert von Karajan with Renata Tebaldi as Aida and Carlo Bergonzi as Radamès. La Scala mounted a lavish new production of Aida designed by Franco Zeffirelli for the opening night of its 2006/2007 season. The production starred Violeta Urmana in

425-476: A backup reference copy of a program. Another occasional use of telerecording into the late 1980s was by documentary makers working in 16 mm film who wished to include a videotape-sourced excerpt in their work, although such use was again rare. In other territories, film telerecordings stopped being produced after the introduction of videotape. In Czechoslovakia, the first videotape recorders (Machtronics MVR-15) were introduced in 1966 but soon were replaced by

510-482: A characteristic white glow around black objects (and a corresponding black glow around white objects), which was a defect of the pick-up. Later vidicon and plumbicon video camera tubes produced much cleaner, more accurate pictures. In 1951, singer Bing Crosby ’s company Bing Crosby Enterprises made the first experimental magnetic video recordings ; however, the poor picture quality and very high tape speed meant it would be impractical to use. In 1956, Ampex introduced

595-653: A full overture for the opera. He then composed an overture of the " potpourri " variety to replace the original prelude. However, in the end he decided not to have the overture performed because of its—his own words—"pretentious silliness". This overture, never used today, was given a rare broadcast performance by Arturo Toscanini and the NBC Symphony Orchestra on 30 March 1940, but was never commercially issued. Aida met with great acclaim when it finally opened in Cairo on 24 December 1871. The costumes and accessories for

680-472: A handful of episodes , such as with the early television work of comedian Ernie Kovacs , and the original version of Jeopardy! hosted by Art Fleming . Another purpose of Kinescopes involved satisfying show sponsors. Kinescopes sometimes would be sent to the advertising agency for the sponsor of a show so that the ad agency could determine whether or not the sponsor's ads appeared properly. Due to this practice, some kinescopes have actually been discovered in

765-464: A high-tech name (and avoiding the word kinescope) to distinguish the process from conventional film photography. Nonetheless, the advances in picture quality were, at the time, a major step ahead. By capturing more than 800 lines of resolution at 25 frame/s, raw tape could be converted to film via kinescope recording with sufficient enhanced resolution to allow big-screen enlargement. The 1960s productions used Marconi image orthicon video cameras, which have

850-452: A higher quality result. For overseas sales, 16 mm film would be used, as it was cheaper. Although domestic use of telerecording in the UK for repeat broadcasts dropped off sharply after the move to colour in the late 1960s, 16 mm black and white film telerecordings were still being offered for sale by British broadcasters well into the 1970s. Telerecording was still being used internally at

935-483: A me sfuggia" / My hated rival has escaped me). She calls for the guard to bring him to her. She asks Radamès to deny the accusations, but Radamès, who does not wish to live without Aida, refuses. He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: "Già i Sacerdoti adunansi" / Already the priests are assembling). Offstage, Ramfis recites the charges against Radamès and calls on him to defend himself, but he stands mute, and

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1020-484: A number of Nuremberg Rallies , or official state visits (such as Benito Mussolini 's) were shot directly on 35 mm instead and transmitted over the air as a television signal, with only a two minutes' delay from the original event, by means of the so-called Zwischenfilmverfahren (see intermediate film system ) from an early outside broadcast van on the site. According to a 1949 film produced by RCA , silent films had been made of early experimental telecasts during

1105-674: A precise time period, so it is difficult to place the opera more specifically than the Old Kingdom . For the first production, Mariette went to great efforts to make the sets and costumes authentic. Considering the consistent artistic styles throughout the 3000-year history of ancient Egypt, a given production does not particularly need to choose a specific time period within the larger frame of ancient Egyptian history. Backstory : The Egyptians have captured and enslaved Aida, an Ethiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to

1190-460: A production of The Scarlet Pimpernel in this way, only for film director Alexander Korda to order the burning of the negative as he owned the film rights to the book, which he felt had been infringed. While there is no written record of any BBC Television production of The Scarlet Pimpernel during 1936–1939, the incident is dramatized in Jack Rosenthal 's 1986 television play The Fools on

1275-420: A second time until recording methods improved. Eventually, telerecordings would be used to preserve a program for repeat showings. In the UK, telerecordings continued to be made after the introduction of commercial broadcast videotape in 1958 as they possessed several distinct advantages. Firstly, they were easier to transport and more durable than videotape. Secondly, they could be used in any country regardless of

1360-430: A television broadcast. A telecine is the inverse device, used to show film directly on television. The term originally referred to the cathode-ray tube (CRT) used in television receivers , as named by inventor Vladimir K. Zworykin in 1929. Hence, the recordings were known in full as kinescope films or kinescope recordings . RCA was granted a trademark for the term (for its CRT) in 1932; it voluntarily released

1445-621: A warehouse in Los Angeles. Mark Goodson-Bill Todman Productions , the producers of such TV game shows as What's My Line? , had a significant portion of their output recorded on both videotape and kinescopes. These programs are rebroadcast on the American cable TV's Game Show Network . All of the NBC Symphony Orchestra telecasts with Arturo Toscanini , from 1948 to 1952, were preserved on kinescopes and later released on VHS and LaserDisc by RCA and on DVD by Testament . The original audio from

1530-461: Is Midnight, Dr Schweitzer , The Lady from the Sea and the opening two episodes of The Quatermass Experiment , although in varying degrees of quality. A complete 7-hour set of telerecordings of Queen Elizabeth II's 1953 coronation also exists. In the era before satellite communications, kinescopes were used to distribute live events such as a royal wedding as quickly as possible to other countries of

1615-399: Is a recording of a television program on motion picture film directly through a lens focused on the screen of a video monitor . The process was pioneered during the 1940s for the preservation, re-broadcasting, and sale of television programs before the introduction of quadruplex videotape , which from 1956 eventually superseded the use of kinescopes for all of these purposes. Kinescopes were

1700-516: Is able to hide her jealousy and approach Aida (Amneris, Aida, Radamès: "Vieni, o diletta, appressati" / Come, O delight, come closer). The King enters, along with the High Priest, Ramfis, and the whole palace court. A messenger announces that the Ethiopians, led by King Amonasro, are marching towards Thebes . The King declares war and proclaims that Radamès is the man chosen by the goddess Isis to be

1785-401: Is condemned to death as a traitor. Amneris, who remains onstage, protests that Radamès is innocent, and pleads with the priests to show mercy. The priests sentence him to be buried alive; Amneris weeps and curses the priests as he is taken away (Judgment scene, Amneris, Ramfis, and chorus: "Ahimè! .. morir mi sento .. Radamès, è deciso il tuo fato" / Alas .. I feel death .. Radamès, your fate

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1870-743: Is decided). Scene 2: The lower portion of the stage shows the vault in the Temple of Ptah; the upper portion represents the temple itself Radamès has been taken into the lower floor of the temple and sealed up in a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radamès (Radamès: "La fatal pietra sovra me si chiuse" / The fatal stone now closes over me). They accept their terrible fate (Radamès: "Morir! Sì pura e bella" / To die! So pure and lovely!) and bid farewell to Earth and its sorrows (duet "Invan! Tutto è finito ... O terra addio"). Above

1955-556: Is listed on the National Archives of Australia website as a kinescope, while surviving episodes of the 1978 drama series The Truckies also exist as kinescopes, indicating that the technology was still being used by the ABC at that point. Until the early 1960s, much of the BBC's output, and British television in general, was broadcast live, and entire drama productions were performed live for

2040-461: Is still in doubt about Radamès' love and wonders whether Aida is in love with him. She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves (Chorus, Amneris: "Vieni: sul crin ti piovano" / Come bind your flowing tresses). When Aida enters the chamber, Amneris asks everyone to leave. By falsely telling Aida that Radamès has died in the battle, she tricks her into professing her love for him. In grief, and shocked by

2125-665: Is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude. Amneris, the daughter of the Egyptian King, enters the hall. She too loves Radamès, but fears that his heart belongs to someone else (Radamès, Amneris: "Quale insolita gioia nel tuo sguardo" / In your looks I trace an unwonted joy). Aida appears and, when Radamès sees her, Amneris notices that he looks disturbed. She suspects that Aida could be her rival, but

2210-566: The BBC in the 1980s too, to preserve copies for posterity of programs that were not necessarily of the highest importance, but which nonetheless their producers wanted to be preserved. If there were no videotape machines available on a given day, then a telerecording would be made. There is evidence to suggest that the children's magazine program Blue Peter was occasionally telerecorded as late as 1985. After this point, however, cheap domestic videotape formats such as VHS could more easily be used to keep

2295-516: The King of Egypt . To complicate the story further, the King's daughter Amneris is in love with Radamès, although he does not return her feelings. Scene 1: A hall in the King's palace; through the rear gate the pyramids and temples of Memphis are visible Ramfis, the high priest of Egypt, tells Radamès, the young warrior, that war with the Ethiopians seems inevitable, and Radamès hopes that he will be chosen as

2380-684: The MLB Network shortly afterwards. Early Australian television drama series were recorded as kinescopes, such as Autumn Affair and Emergency , along with variety series like The Lorrae Desmond Show . Kinescopes continued to be made after videotape was introduced to Australia; most existing episodes of the 1965–1967 children's series Magic Circle Club are kinescopes (per listings for episodes on National Film and Sound Archive website) Telerecordings form an important part of British television heritage, preserving what would otherwise have been lost. Nearly every pre-1960s British television program in

2465-514: The Pacific Time Zone . In September 1956, NBC began making color hot kines of some of its color programs using a lenticular film process which, unlike color negative film, could be processed rapidly using standard black-and-white methods. They were called hot kines because the film reels being delivered from the lab were still warm from the developing process. Even after the introduction of quadruplex videotape machines in 1956 removed

2550-772: The Teatro Regio di Parma (20 April 1872), the Teatro di San Carlo (30 March 1873), La Fenice (11 June 1873), the Teatro Regio di Torino (26 December 1874), the Teatro Comunale di Bologna (30 September 1877, with Giuseppina Pasqua as Amneris and Franco Novara as the King), and the Teatro Costanzi (8 October 1881, with Theresia Singer as Aida and Giulia Novelli as Amneris) among others. Details of important national and other premières of Aida follow: A complete concert version of

2635-453: The 1930s. The films were produced by aiming a camera at television monitors – at a speed of eight frames per second, resulting in somewhat jerky reproductions of the images. By the mid-1940s, RCA and NBC were refining the filming process and including sound; the images were less jerky but still somewhat fuzzy. By early 1946, television cameras were being attached to American guided missiles to aid in their remote steering. Films were made of

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2720-559: The 2001 Italian animated film Aida of the Trees ( Aida degli alberi ). The characters are seen as anthropomorphic creatures between the fictional kingdoms of Alborea and Petra as the star-crossed lovers must find a way to unify their worlds while facing off against the evil high priest Ramfis. Kinescope Kinescope / ˈ k ɪ n ɪ s k oʊ p / , shortened to kine / ˈ k ɪ n iː / , also known as telerecording in Britain,

2805-424: The 30 frame/s image to 24 frame/s, the standard sound speed of film cameras and do so in a way so that the image is clear enough to then re-broadcast by means of a film chain back to 30 frame/s. In kinescoping an NTSC signal, 525 lines are broadcast in one frame. A 35 mm or 16 mm camera exposes one frame of film for every one frame of television (525 lines), and moving a new frame of film into place during

2890-546: The Ampex 2" Quadruplex in 1967. Most of the programs, like TV dramas, were recorded on video, but only a few programs continued to be telerecorded onto 16 mm film. The last known telerecording was produced in 1971 and soon after, all programs were recorded on video only. Kinescopes were intended to be used for immediate rebroadcast, or for an occasional repeat of a program; thus, only a small fraction of kinescope recordings remain today. Many television shows are represented by only

2975-462: The BBC undertook color restoration work on the existing 16 mm monochrome telerecording of Room at the Bottom , a 1969 episode of the sitcom Dad's Army . Although this episode was originally produced and broadcast in color, the black and white film was the only surviving copy of the episode following the wiping of the original videotape. However, the telerecording process left color information in

3060-496: The Commonwealth that had started a television service. A Royal Air Force aircraft would fly the telerecording from the UK to Canada, where it would be broadcast over the whole North American network. Prior to the introduction of videotape in 1956, kinescopes were the only way to record television broadcasts, or to distribute network television programs that were broadcast live from originating cities to stations not connected to

3145-457: The Egyptian commander (Ramfis, Radamès: "Sì, corre voce l'Etiope ardisca" / Yes, it is rumored that Ethiopia dares once again to threaten our power). Radamès dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave, with whom he is secretly in love (Radamès: " Se quel guerrier io fossi! ... Celeste Aida " / Heavenly Aida). Aida, who is also secretly in love with Radamès,

3230-625: The Egyptians. Amonasro deceptively proclaims to the Egyptians that the Ethiopian king (referring to himself) has been slain in battle. Aida, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but Ramfis and the Egyptian priests call for their death (Aida, Amneris, Radamès, The King, Amonasro, chorus: "Che veggo! .. Egli? .. Mio padre! .. Anch'io pugnai .. Struggi, o Re, queste ciurme feroci" / What do I see?.. Is it he? My father? .. Destroy, O King, these ferocious creatures). Claiming

3315-538: The Hill . Some of the surviving live transmissions of the Nazi German television station Fernsehsender Paul Nipkow , dating as far back as the 1930s, were recorded by pointing a 35 mm camera to a receiver's screen, although most surviving Nazi live television programs such as the 1936 Summer Olympics (not to be confused with the cinematic footage made during the same event by Leni Riefenstahl for her film Olympia ),

3400-561: The King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat. On the banks of the Nile, near the Temple of Isis Prayers are said (Chorus, High Priestess, Ramfis, Amneris: "O tu che sei d'Osiride" / O thou who to Osiris art) on the eve of Amneris and Radamès' wedding in the Temple of Isis. Outside, Aida waits to meet with Radamès as they had planned (Aida: "Qui Radamès verra .. O patria mia" / Oh, my dear country!). Amonasro appears and orders Aida to find out

3485-549: The Pacific Time Zone. But as an article in American Cinematographer explained, In the beginning there was a very definite reason for the decision of Desilu Productions to put I Love Lucy on film instead of doing it live and having kinescope recordings carry it to affiliate outlets of the network. The company was not satisfied with the quality of kinescopes. It saw that film, produced especially for television,

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3570-953: The United States, and by 1955 that number had increased to 2,500 per week for CBS. By 1954 the television industry's film consumption surpassed that of all of the Hollywood studios combined. After the network of coaxial cable and microwave relays carrying programs to the West Coast was completed in September 1951, CBS and NBC instituted a hot kinescope process in 1952, where shows being performed in New York were transmitted west, filmed on two kinescope machines in 35 mm negative and 16 mm reversal film (the latter for backup protection) in Los Angeles, rushed to film processing, and then transmitted from Los Angeles three hours later for broadcast in

3655-411: The archives is in the form of a telerecording, along with the vast majority of existing 1960s output. Videotape was expensive and could be wiped and re-used; film was cheaper, smaller, and in practice more durable. Only a very small proportion of British television from the black-and-white era survives at all. As the BBC has taken stock of the large gaps in its archive and sought to recover as much of

3740-491: The chamber. Scene 2: The grand gate of the city of Thebes Radamès returns victorious and the troops march into the city (Chorus, Ramfis: "Gloria all'Egitto, ad Iside" / Glory to Egypt, [and] to Isis!). The Egyptian king decrees that on this day the triumphant Radamès may have anything he wishes. The Ethiopian captives are led onstage in chains, Amonasro among them. Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from

3825-617: The daily five-minute syndicated series Les Paul & Mary Ford At Home in 1954–55), but with the introduction of a practical videotape recorder only one year away, the Electronicam system never saw widespread use. The DuMont network did not survive into the era of videotape, and in order to gain clearances for its programs, was heavily dependent on kinescopes, which it called Teletranscriptions. Attempts were made for many years to take television images, convert them to film via kinescope, then project them in theatres for paying audiences. In

3910-432: The desert with her. To facilitate their escape, Radamès suggests using a secure route free from the risk of discovery and discloses the location his army plans to attack. Upon hearing this, Amonasro emerges from hiding and reveals his true identity. Radamès, horrified, realizes he has inadvertently divulged a critical military secret to the enemy. Meanwhile, Amneris and Ramfis leave the temple, spot Radamès in conference with

3995-465: The early 1970s by which time programs were being videotaped in color. Most, if not all, recordings from the 405-line era have long since been lost as have many from the introduction of 625-line video to the early days of color. Consequently, the majority of British shows that still exist before the introduction of color, and a number thereafter, do so in the form of these telerecordings. A handful of shows, including some episodes of Doctor Who and most of

4080-438: The enemy, and summon the imperial guards. Amonasro, armed with a dagger, intends to kill Amneris and Ramfis before they can alert the guards, but Radamès disarms him. He swiftly instructs Amonasro to flee with Aida and surrenders himself to the guards, who arrest him as a traitor. Scene 1: A hall in the Temple of Justice. To one side is the door leading to Radamès' prison cell Amneris desires to save Radamès ("L'aborrita rivale

4165-468: The fact that the audience consisted of invited dignitaries, politicians and critics, but no members of the general public. He therefore considered the Italian (and European) première, held at La Scala , Milan on 8 February 1872, and a performance in which he was heavily involved at every stage, to be its real première. Verdi had also written the role of Aida for the voice of Teresa Stolz , who sang it for

4250-457: The few surviving DuMont kinescopes, with the UCLA Film and Television Archive having collected over 300 for preservation. In September 2010, a kinescope of game 7 of the 1960 World Series was found in the wine cellar of Bing Crosby. The game was thought lost forever but was preserved due to Crosby's superstition about watching the game live. The film was transferred to DVD and was broadcast on

4335-529: The first commercial Quadruplex videotape recorder, followed in 1958 by a colour model. Offering high quality and instant playback at a much lower cost, Quadruplex tape quickly replaced kinescope as the primary means of recording television broadcasts. In the late 1960s, U.S. television networks continued to make kinescopes of their daytime dramas available, many of which still aired live during that time period, for their smaller network affiliates that did not yet have videotape capability but wished to time-shift

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4420-725: The first series of Adam Adamant Lives! , were deliberately telerecorded for ease of editing rather than being videotaped. In September 1947, Eastman Kodak introduced the Eastman Television Recording Camera, in cooperation with DuMont Laboratories and NBC , for recording images from a television screen under the trademark "Kinephoto". NBC, CBS , and DuMont set up their main kinescope recording facilities in New York City, while ABC chose Chicago . By 1951, NBC and CBS were each shipping out some 1,000 16 mm kinescope prints each week to their affiliates across

4505-487: The first time at the Milan première. Verdi had asked her fiancé, Angelo Mariani , to conduct the Cairo première, but he declined, so Giovanni Bottesini filled the gap. The Milan Amneris , Maria Waldmann , was his favourite in the role and she repeated it a number of times at his request. Aida was received with great enthusiasm at its Milan première. The opera was soon mounted at major opera houses throughout Italy, including

4590-578: The form of chroma dots in the frames of the film; using a specially designed computer program, these chroma dots were used to bring out the original color information, which as then applied to the film, allowing the color to be restored to the episode. The restored version of Room at the Bottom was broadcast on 13 December 2008, the first time it had been seen in color since May 1970. NTSC television images are scanned at roughly 60  Hz , with two interlaced fields per frame, displayed at 30 frames per second . A kinescope must be able to convert

4675-538: The installation of Radamès to the office of commander-in-chief (High Priestess, chorus, Ramfis, Radamès: "Immenso Ftha .. Mortal, diletto ai Numi" / O mighty one, guard and protect!). All present in the temple pray fervently for the victory of Egypt and protection for their warriors ("Nume, custode e vindice"/ Hear us, O guardian deity). Scene 1: The chamber of Amneris Dances and music to celebrate Radamès' victory take place (Chorus, Amneris: "Chi mai fra gli inni e i plausi" / Our songs his glory praising). However, Amneris

4760-514: The kinescopes, however, was replaced with high fidelity sound that had been recorded simultaneously either on transcription discs or magnetic tape . In the mid-1990s, Edie Adams , wife of Ernie Kovacs, claimed that so little value was given to the kinescope recordings of the DuMont Television Network that after the network folded in 1956 its entire archive was dumped into upper New York bay. Today however, efforts are made to preserve

4845-440: The leader of the army (The King, Messenger, Radamès, Aida, Amneris, Ramfis, chorus: "Alta cagion v'aduna .. Guerra, guerra, guerra!" / Oh fate o'er Egypt looming .. War, war, war!). Upon receiving this mandate from the King, Radamès proceeds to the temple of Vulcan to take up the sacred arms (The King, Radamès, Aida, Amneris, chorus: "Su! del Nilo al sacro lido" .. (reprise) "Guerra, guerra, guerra!" / On! Of Nilus' sacred river, guard

4930-574: The location of the Egyptian army from Radamès. Aida, torn between her love for Radamès and her loyalty to her native land and to her father, reluctantly agrees. (Aida, Amonasro: "Ciel, mio padre! .. Rivedrai le foreste imbalsamate" / Once again shalt thou gaze). When Radamès arrives, Amonasro hides behind a rock and listens to their conversation. Radamès affirms that he will marry Aida ("Pur ti riveggo, mia dolce Aida .. Nel fiero anelito"; "Fuggiam gli ardori inospiti .. Là, tra foreste vergini" / I see you again, my sweet Aida!), and Aida convinces him to flee to

5015-470: The mid-1960s, Producer/entrepreneur H. William "Bill" Sargent, Jr. used conventional analog Image Orthicon video camera tube units, shooting in the B&;W 819-line interlaced 25fps French video standard, using modified high-band quadruplex VTRs to record the signal. The promoters of Electronovision (not to be confused with Electronicam ) gave the impression that this was a new system created from scratch, using

5100-464: The missing material as possible, many recovered programs, have been returned from the 1980s onwards as telerecordings held by foreign broadcasters or private film collectors. Many of these surviving telerecorded programs, such as episodes of Doctor Who , Steptoe and Son and Till Death Us Do Part continue to be transmitted on satellite television stations such as UKTV Gold , and many such programs have been released on VHS and DVD . In 2008,

5185-645: The move had doomed his production to an "infamous and brutal" fate. Aida continues to be a staple of the standard operatic repertoire. It is frequently performed in the Verona Arena , and is a staple of its renowned opera festival . 3 flutes (3rd also piccolo ), 2 oboes , English horn , 2 clarinets , bass clarinet , 2 bassoons , 4 horns , 2 trumpets , 3 trombones , cimbasso , timpani , triangle , bass drum , cymbals , tam-tam , harp , strings ; on-stage banda : 6 Egyptian trumpets ("Aida trumpets"), military band, harp The libretto does not specify

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5270-429: The need for hot kines , the television networks continued to use kinescopes in the double system method of videotape editing. It was impossible to slow or freeze frame a videotape at that time, so the unedited tape would be copied to a kinescope, and edited conventionally. The edited kinescope print was then used to conform the videotape master. More than 300 videotaped network series and specials used this method over

5355-462: The network programming. Some of these programs aired up to two weeks after their original dates, particularly in Alaska and Hawaii . Many episodes of programs from the 1960s survive only through kinescoped copies. In Australia, kinescopes were still being made of some evening news programs as late as 1977, if they were recorded at all. A recording of a 1975 episode of Australian series This Day Tonight

5440-490: The network, or to stations that wished to show a program at a time different than the network broadcast. Although the quality was less than desirable, television programs of all types from prestigious dramas to regular news shows were handled in this manner. Even after the introduction of videotape, the BBC and the ITV companies made black and white kinescopes of selected programs for international sales and continued to do so until

5525-454: The news, Aida confesses that her heart belongs to Radamès eternally (Amneris, Aida: "Fu la sorte dell'armi a' tuoi funesta" / The battle's outcome was cruel for your people). This confession fires Amneris with rage, and she plans on taking revenge on Aida. Ignoring Aida's pleadings (Amneris, Aida, chorus: "Su! del Nilo al sacro lido" / Up! at the sacred shores of the Nile), Amneris leaves her alone in

5610-405: The only practical way to preserve live television broadcasts prior to videotape. Typically, the term can refer to the process itself, the equipment used for the procedure (a movie camera mounted in front of a video monitor, and synchronized to the monitor's scanning rate), or a film made using the process. Film recorders are similar, but record source material from a computer system instead of

5695-582: The opera was given in New York City in 1949. Conducted by Toscanini with Herva Nelli as Aida and Richard Tucker as Radamès, it was televised on the NBC television network. Due to the length of the opera, it was divided into two telecasts, preserved on kinescopes , and later released on video by RCA and Testament. The audio portion of the broadcast, including some remakes in June 1954, was released on LP and CD by RCA Victor. Other notable performances from this period include

5780-494: The première were designed by Auguste Mariette , who also oversaw the design and construction of the sets, which were made in Paris by the Opéra 's scene painters Auguste-Alfred Rubé and Philippe Chaperon (acts 1 and 4) and Édouard Desplechin and Jean-Baptiste Lavastre (acts 2 and 3), and shipped to Cairo. Although Verdi did not attend the premiere in Cairo, he was most dissatisfied with

5865-448: The reward promised by the King of Egypt, Radamès pleads with him to spare the lives of the prisoners and to set them free. The King grants Radamès' wish, and declares that he (Radamès) will be his (the King's) successor and will marry the King's daughter (Amneris). (Aida, Amneris, Radamès, Ramfis, The King, Amonasro, chorus: "O Re: pei sacri Numi! .. Gloria all'Egitto" / O King, by the sacred gods ... Glory to Egypt!). At Ramfis' suggestion to

5950-562: The scenery and costumes were stuck in the French capital during the Siege of Paris (1870–71) of the ongoing Franco-Prussian War , the premiere was delayed and Verdi's Rigoletto was performed instead. The first opera performed at the Khedivial Opera House , Aida eventually premiered in Cairo on Christmas Eve of 1871. Verdi originally chose to write a brief orchestral prelude instead of

6035-402: The shores .. (reprise) War, war, war!). Alone in the hall, Aida feels torn between her love for her father, her country, and Radamès (Aida: "Ritorna vincitor!" / Return a conqueror!). Scene 2: Inside the Temple of Ptah Solemn ceremonies and dances by the priestesses take place (High Priestess, chorus, Radamès: "Possente Ftha ... Tu che dal nulla" / O mighty Ptah ). This is followed by

6120-479: The short duration of a 16 mm film magazine, was that a large opaque frame had to be placed in front of the TV set in order to block out any stray reflections, making it impossible to watch the set normally while filming. It is not known if any recordings made using this equipment still exist. British broadcasters used telerecordings for domestic purposes well into the 1960s, with 35 mm film usually used as it produced

6205-453: The show was kinescoped for later rebroadcast for the West Coast. Per his contract, he would receive one copy of each broadcast, which he kept in his vault, and only released them to the public (on home video) shortly before his death in 1987. Milton Berle sued NBC late in his life, believing the kinescopes of a major portion of his programs were lost. However, the programs were later found in

6290-462: The show was originally broadcast on BBC TV it was 60 minutes in length and also included performances from Winifred Atwell , Evelyn Dove , Cyril Blake and his Calypso Band, Edric Connor and Mable Lee , and was produced by Eric Fawcett. The six-minute footage of Miss Hall is all that survives of the show. From the following month, the wedding of Princess Elizabeth to Prince Philip also survives, as do various early 1950s productions such as It

6375-524: The stars and producers of the Hollywood-based television series I Love Lucy , Desi Arnaz and Lucille Ball , decided to film the show directly onto 35 mm film using the three-camera system , instead of broadcasting it live. Normally, a live program originating from Los Angeles would be performed live in the late afternoon for the Eastern Time Zone and seen on a kinescope three hours later in

6460-413: The storage areas of some of these older advertising agencies or in the storage areas of the program sponsors themselves. Certain performers or production companies would require that a kinescope be made of every television program. Such is the case with performers Jackie Gleason and Milton Berle , for whom nearly complete program archives exist. As Jackie Gleason's program was broadcast live in New York,

6545-462: The studio TV cameras had built-in 35 mm film cameras which shared the same optical path. An Electronicam technician threw switches to mark the film footage electronically, identifying the camera takes called by the director. The corresponding film segments from the various cameras then were combined by a film editor to duplicate the live program. The "Classic 39" syndicated episodes of The Honeymooners were filmed using Electronicam (as well as

6630-456: The television broadcasting standard, which was not true of videotape. Later, the system could be used to make black-and-white copies of color programs for sale to television stations that were not yet broadcasting in color. The system was largely used for black-and-white reproduction. Although some color telerecordings were made, they were generally in the minority as by the time color programs were widely needed for sale, video standards conversion

6715-549: The television images they transmitted for further evaluation of the target and the missile's performance. The first known surviving example of the telerecording process in Britain is from October 1947, showing the singer Adelaide Hall performing at the RadiOlympia event. Hall sings " Chi-Baba, Chi-Baba (My Bambino Go to Sleep) " and " I Can't Give You Anything But Love ", as well as accompanying herself on ukulele and dancing. When

6800-495: The term to the public domain in 1950. The General Electric laboratories in Schenectady, New York experimented with making still and motion picture records of television images in 1931. There is anecdotal evidence that the BBC experimented with filming the output of the television monitor before its television service was suspended in 1939 due to the outbreak of World War II . A BBC executive, Cecil Madden , recalled filming

6885-504: The time equivalent of one field of television (131.25 lines). In the British 405-line television system , the French 819-line television system and the greater European 625-line television system , television ran at 25 frames—or more correctly, 50 fields—per second, so the film camera would also be run at 25 frames per second rather than the cinematic film standard of 24 frames. Therefore, in order to maintain successful kinescope photography,

6970-562: The title role and Roberto Alagna as Radamès. Alagna subsequently made the headlines when he was booed for his rendition of "Celeste Aida" during the second performance, walked off the stage, and was dismissed from the remainder of the run. The production continued to cause controversy in 2014 when Zeffirelli protested La Scala's rental of the production to the Astana Opera House in Kazakhstan without his permission. According to Zeffirelli,

7055-665: The vault in the temple of Ptah, Amneris weeps and prays to the goddess Isis. In the vault below, Aida dies in Radamès' arms as the priests, offstage, pray to the god Ptah. (Chorus, Aida, Radamès, Amneris: "Immenso Ftha" / Almighty Ptah). The 1952 Broadway musical My Darlin' Aida , set on a plantation in Tennessee in the first year of the American Civil War , is based on the opera and uses Verdi's music. The opera has been adapted for motion pictures on several occasions, most notably in

7140-460: Was easier and higher quality and the price of videotape had become much reduced. Before videotape became the exclusive recording format during the early to mid-1980s, any (color) video recordings used in documentaries or filmed program inserts were usually transferred onto film. In the 1950s a home telerecording kit was introduced in Britain, allowing enthusiasts to make 16 mm film recordings of television programs. The major drawback, apart from

7225-486: Was the only means of ensuring top quality pictures on the home receiver as well as ensuring a flawless show. The I Love Lucy decision introduced reruns to most of the American television audience, and set a pattern for the syndication of TV shows after their network runs. The program director of the DuMont Television Network , James L. Caddigan, devised an alternative – the Electronicam . In this, all

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