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120-531: 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

240-476: 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

360-402: 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

480-618: A big outdoor theatre like Verona's, this girl, with her courage and huge voice, would make a tremendous impact." Subsequently he recommended Callas to retired tenor and impresario Giovanni Zenatello . During her audition, Zenatello became so excited that he jumped up and joined Callas in the act 4 duet. It was in this role that Callas made her Italian debut. Upon her arrival in Verona , Callas met Giovanni Battista Meneghini, an older, wealthy industrialist, who began courting her. They married in 1949, and he assumed control of her career until 1959, when

600-551: A concert to inaugurate what then was billed as the Dallas Civic Opera , and helped establish that company with her friends from Chicago, Lawrence Kelly and Nicola Rescigno . She further consolidated this company's standing when, in 1958, she gave "a towering performance as Violetta in La traviata , and that same year, in her only American performances of Medea , gave an interpretation of the title role worthy of Euripides." In 1958,

720-500: A festival of unprecedented scope, most of it financed by the Cattaui banking house, from whom he borrowed $ 1,000,000, inviting dignitaries from around the world. These developments – especially the costly war with Ethiopia – left Egypt in deep debt to the European powers, and they used this position to wring concessions out of Isma'il. One of the most unpopular among Egyptians and Sudanese was

840-647: A feud with Rudolf Bing led to Callas' Metropolitan Opera contract being cancelled. Impresario Allen Oxenburg realised that this situation provided him with an opportunity for his own company, the American Opera Society , and he accordingly approached her with a contract to perform Imogene in Il pirata . She accepted and sang the role in a January 1959 performance that according to opera critic Allan Kozinn "quickly became legendary in operatic circles". Bing and Callas later reconciled their differences, and she returned to

960-433: A few days' notice. Throughout her career, Callas displayed her vocal versatility in recitals that juxtaposed dramatic soprano arias alongside coloratura pieces, including in a 1952 RAI recital in which she opened with " Lady Macbeth's letter scene ", followed by the "Mad Scene" from Lucia di Lammermoor , then Abigaille's treacherous recitative and aria from Nabucco , finishing with the "Bell Song" from Lakmé capped by

1080-651: 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

1200-483: 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

1320-601: A more distinguished career than Tullio Serafin, and perhaps none, apart from Toscanini , more influence". In 1968, Callas recalled that working with Serafin was the "really lucky" opportunity of her career because "he taught me that there must be an expression; that there must be a justification. He taught me the depth of music, the justification of music. That's where I really really drank all I could from this man". The great turning point in Callas' career occurred in Venice in 1949. She

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1440-511: A new door for us, for all the singers in the world, a door that had been closed. Behind it was sleeping not only great music but great idea of interpretation. She has given us the chance, those who follow her, to do things that were hardly possible before her. That I am compared with Callas is something I never dared to dream. It is not right. I am much smaller than Callas. As with I puritani , Callas learned and performed Cherubini's Medea , Giordano 's Andrea Chénier and Rossini's Armida on

1560-671: 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

1680-799: A pupil immediately, but Callas' mother asked de Hidalgo to wait for a year, as Callas would be graduating from the National Conservatoire and could begin working. On April 2, 1939, Callas undertook the part of Santuzza in a student production of Mascagni's Cavalleria rusticana at the Greek National Opera at the Olympia Theatre , and in the fall of the same year she enrolled at the Athens Conservatoire in Elvira de Hidalgo's class. In 1968, Callas told Lord Harewood , De Hildalgo had

1800-609: A ringing high E in alt (E6). Although by 1951, Callas had sung at all the major theatres in Italy, she had not yet made her official debut at Italy's most prestigious opera house, Teatro alla Scala in Milan. According to composer Gian Carlo Menotti , Callas had substituted for Renata Tebaldi in the role of Aida in 1950, and La Scala's general manager, Antonio Ghiringhelli, had taken an immediate dislike to Callas. Menotti recalls that Ghiringhelli had promised him any singer he wanted for

1920-439: A series of concerts around Greece, and then, against her teacher's advice, she returned to America to see her father and to further pursue her career. When she left Greece on September 14, 1945, two months short of her 22nd birthday, Callas had given 56 performances in seven operas and had appeared in around 20 recitals. Callas considered her Greek career as the foundation of her musical and dramatic upbringing, saying "When I got to

2040-465: A state prisoner, until his death. According to TIME magazine , he died while trying to guzzle two bottles of champagne in one draft. He was later buried in Cairo . Although he ruled Egypt, where the common language was Arabic, Isma'il spoke Turkish best and could not speak Arabic. Nevertheless, under his reign, the use of Arabic in government gradually increased at the expense of Turkish, which had been

2160-468: A statement that he made in 1879: "My country is no longer only in Africa; we are now part of Europe , too. It is therefore natural for us to abandon our former ways and to adopt a new system adapted to our social conditions". In 1867 he also secured Ottoman and international recognition for his title of Khedive (Viceroy) in preference to Wāli (Governor) which was previously used by his predecessors in

2280-403: Is a whole vast language of its own. De Hidalgo later recalled Callas as "a phenomenon... She would listen to all my students, sopranos, mezzos, tenors... She could do it all." Callas said that she would go to "the conservatoire at 10 in the morning and leave with the last pupil ... devouring music" for 10 hours a day. When asked by her teacher why she did this, her answer was that even "with

2400-516: 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

2520-401: 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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2640-742: 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

2760-461: 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

2880-665: 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

3000-607: The Axis occupation of Greece during World War II. Simionato was convinced that Callas "managed to remain untouched", but never forgave her mother for what she perceived as a kind of prostitution forced on her. Litsa, beginning in New York and continuing in Athens, had adopted a questionable lifestyle that included not only pushing her daughters into degrading situations to support her financially, but also entertaining Italian and German soldiers during

3120-754: The Emperor Yohannes IV . In 1865 the Ottoman Sublime Porte ceded the African portion of the Habesh Eyalet (with Massawa and Suakin at the Red Sea as the main cities of that province) to Isma'il. This province, which neighboured Ethiopia, first consisted of a coastal strip only but expanded subsequently inland into territory controlled by the Ethiopian ruler. Here Isma'il occupied regions originally claimed by

3240-635: The Eyalet of Egypt and Sudan (1517–1867). However, Isma'il's policies placed the Khedivate of Egypt and Sudan (1867–1914) in severe debt, leading to the sale of the country's shares in the Suez Canal Company to the British government, and his ultimate toppling from power in 1879 under British and French pressure. The city of Ismailia is named in his honor. The second of the three sons of Ibrahim Pasha , and

3360-516: 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

3480-674: The Ottoman Sultan Abdülhamid II to depose Isma'il Pasha, and this was done on 26 June 1879. The more pliable Tewfik Pasha , Ismail's eldest son, was made his successor. Isma'il Pasha left Egypt and initially went into exile to Resina, today Ercolano near Naples , until 1885 when he was eventually permitted by Sultan Abdülhamid II to retire to his palace in Emirgan on the Bosporus in Constantinople . There he remained, more or less

3600-771: 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

3720-427: The 1950s. La Scala mounted many new productions specially for Callas by directors such as Herbert von Karajan , Margherita Wallmann , Franco Zeffirelli and, most importantly, Luchino Visconti . Visconti stated later that he began directing opera only because of Callas, and he directed her in lavish new productions of La vestale , La traviata , La sonnambula , Anna Bolena and Iphigénie en Tauride . Callas

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3840-495: 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. Isma%27il Pasha Isma'il Pasha ( Arabic : إسماعيل باشا Ismā‘īl Bāshā ; 12 January 1830 – 2 March 1895), also known as ' Ismail

3960-585: The Anglo-Egyptian-Ethiopian Hewett Treaty , when Bogos was given back to Ethiopia. The Red Sea Province created by Ismail and his governor Munzinger Pasha was taken over by the Italians shortly thereafter and became the territorial basis for the Colony of Eritrea (proclaimed in 1890). The jurisdiction of Isma'il Pasha from the 1870s until 1884 included the entire northern coast of Somalia, up to

4080-737: The Axis occupation. In an attempt to patch things up with her mother, Callas took Litsa along on her first visit to Mexico in 1950, but this only reawakened the old frictions and resentments, and after leaving Mexico they never met again. After a series of angry and accusatory letters from Litsa lambasting Callas' father and husband, Callas ceased communication with her mother altogether. A 1955 Time story covered Callas' response to her mother's request of $ 100, "for my daily bread." Callas had replied, "Don't come to us with your troubles. I had to work for my money, and you are young enough to work, too. If you can't make enough money to live on, you can jump out of

4200-589: The British government to inquire into the finances of Egypt, and in April 1876 their report was published, advising that in view of the waste and extravagance it was necessary for foreign Powers to interfere in order to restore credit. The result was the establishment of the Caisse de la Dette . A subsequent investigation in October by George Goschen and Joubert resulted in the establishment of joint Anglo-French control over most of

4320-457: 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,

4440-452: The Egyptian government's finances. A further commission of inquiry by Major Evelyn Baring (afterwards 1st Earl of Cromer) and others in 1878 culminated in Isma'il handing over much of his personal estates' to the nation and accepting the position of a constitutional sovereign, with Nubar as premier, Charles Rivers Wilson as finance minister, and de Blignières as minister of public works. As

4560-573: 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

4680-657: The French program L'invitée du dimanche , Callas attributed the development of her chest voice not to Trivella, but to her next teacher, the Spanish coloratura soprano Elvira de Hidalgo . Callas studied with Trivella for two years before her mother secured another audition at the Athens Conservatoire with de Hidalgo. Callas auditioned with "Ocean, Thou Mighty Monster" from Weber's Oberon . De Hidalgo recalled hearing "tempestuous, extravagant cascades of sounds, as yet uncontrolled but full of drama and emotion". She agreed to take her as

4800-667: The House of Cattaui. Judgments were given against the Khedive in the international tribunals. When he could raise no more loans, he sold the Egyptian and Sudanese shares in the Suez Canal Company in 1875 with the assistance of Yacoub Cattaui to the British government for £3,976,582; this was immediately followed by the beginning of direct intervention by the Great Powers in Egypt and Sudan. In December 1875, Stephen Cave and John Stokes were sent out by

4920-561: 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

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5040-605: The Magnificent , was the Khedive of Egypt and ruler of Sudan from 1863 to 1879, when he was removed at the behest of Great Britain and France . Sharing the ambitious outlook of his grandfather, Muhammad Ali Pasha , he greatly modernized Egypt and Sudan during his reign, investing heavily in industrial and economic development , urbanization , and the expansion of the country's boundaries in Africa . His philosophy can be glimpsed in

5160-553: The Ottomans when they had established the province (eyalet) of Habesh in the 16th century. New economically promising projects, like huge cotton plantations in the Barka delta, were started. In 1872 Bogos (with the city of Keren ) was annexed by the governor of the new "Province of Eastern Sudan and the Red Sea Coast", Werner Munzinger Pasha. In October 1875 Isma'il's army tried to occupy

5280-811: The United States was five years later in Chicago in 1954, and "with the Callas Norma , Lyric Opera of Chicago was born." Her Metropolitan Opera debut, opening the Met's seventy-second season on October 29, 1956, was again with Norma , but was preceded by an unflattering cover story in Time magazine, which rehashed all of the Callas clichés, including her temper, her supposed rivalry with Renata Tebaldi, and especially her difficult relationship with her mother. As she had done with Lyric Opera of Chicago, on November 21, 1957, Callas gave

5400-509: The United States, a decision which Yakinthi recalled was greeted with Litsa "shouting hysterically" followed by George "slamming doors". The family left for New York in July 1923, moving first into an apartment in the heavily ethnic neighborhood of Astoria, Queens . Litsa was convinced that her third child would be a boy; her disappointment at the birth of another daughter was so great that she refused to even look at her new baby for four days. Maria

5520-512: The adjacent highlands of Hamasien , which were then tributary to the Ethiopian Emperor, and suffered defeat at the Battle of Gundet. In March 1876 Isma'il's army tried again and suffered a second dramatic defeat by Yohannes's army at Gura . Isma'il's son Hassan was captured by the Ethiopians and only released after a large ransom. This was followed by a long cold war, only finishing in 1884 with

5640-485: The artist in the popular press, her artistic achievements were such that Leonard Bernstein called her "the Bible of opera", and her influence so enduring that, in 2006, Opera News wrote of her: "Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists." The name on Callas' New York birth certificate is Sophie Cecilia Kalos, although she

5760-453: 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

5880-569: The beginning. George was easy-going and unambitious, with no interest in the arts, and Litsa was vivacious and socially ambitious and had dreamed of a life in the arts, which her middle-class parents had stifled in her childhood and youth. Litsa's father, Petros Dimitriadis (1852–1916), was in failing health when Litsa introduced George to her family. Petros, distrustful of George, had warned his daughter, "You will never be happy with him. If you marry that man, I will never be able to help you". Litsa had ignored his warning, but soon realized that her father

6000-564: The behest of Yacoub Cattaui his minister of Finance and close advisor, he refused to ratify the concessions to the Canal company made by Sa'id, and the question was referred in 1864 to the arbitration of Napoleon III, who awarded £3,800,000 to the company as compensation for the losses they would incur by the changes which Isma'il insisted upon in the original grant. Isma'il then used every available means, by his own undoubted powers of fascination and by judicious expenditure, to bring his personality before

6120-458: The bel canto repertoire changed the course of Callas' career and set her on a path leading to Lucia di Lammermoor , La traviata , Armida , La sonnambula , Il pirata , Il turco in Italia , Medea , and Anna Bolena , and reawakened interest in the long-neglected operas of Cherubini , Bellini , Donizetti and Rossini . In the words of soprano Montserrat Caballé : She opened

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6240-836: The big career, there were no surprises for me." After returning to the United States and reuniting with her father in September 1945, Callas made the round of auditions. In December of that year, she auditioned for Edward Johnson , general manager of the Metropolitan Opera , and was favorably received: "Exceptional voice—ought to be heard very soon on stage". Callas maintained that the Metropolitan Opera offered her Madama Butterfly and Fidelio , to be performed in Philadelphia and sung in English, both of which she declined, feeling she

6360-491: 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

6480-444: The countryside and the central government. This was shown in 1876 when the assembly persuaded Isma'il to reinstate the law (enacted by him in 1871 to raise money and later repealed) that allowed landownership and tax privileges to persons paying six years' land tax in advance. Isma'il tried to reduce slave trading and with the advice and financial backing of Yacoub Cattaui extended Egypt's rule in Africa. In 1874 he annexed Darfur , but

6600-404: The course of her career. She underwent a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas' temperamental behavior, the alleged Callas- Tebaldi rivalry, and her love affair with Greek shipping tycoon Aristotle Onassis . Although her dramatic life and personal tragedy have often overshadowed Callas

6720-432: 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

6840-409: The eastern coast at Ras Hafun in contemporary Puntland . The Khedive's northern Somali Coast territory was reached as far inland as Harar , although it was subsequently ceded to Britain in 1884 due to internal difficulties of Egypt. Isma'il's khedivate is closely connected to the building of the Suez Canal . He agreed to, and oversaw, the Egyptian portion of its construction. On his accession, at

6960-438: 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

7080-413: The first act out of curiosity while at the conservatory. She sight-read the opera's second act for Serafin, who praised her for knowing the role so well, whereupon she admitted to having bluffed and having sight-read the music. Even more impressed, Serafin immediately cast her in the role. Serafin thereafter served as Callas' mentor and supporter. Lord Harewood stated "Very few Italian conductors have had

7200-438: 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

7320-627: The foreign sovereigns and public, and he had much success. In 1867 he visited Paris during the Exposition Universelle (1867) with Sultan Abdülaziz, and also London, where he was received by Queen Victoria and welcomed by the Lord Mayor . While in Britain he also saw a British Royal Navy Fleet Review with the Sultan. In 1869 he again paid a visit to Britain. When the Canal finally opened, Isma'il held

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7440-483: The formation of a Western-trained elite. A national library was founded in 1871. One of his most significant achievements was to establish an assembly of delegates in November 1866. Though this was supposed to be a purely advisory body, its members eventually came to have an important influence on governmental affairs. Village headmen dominated the assembly and came to exert increasing political and economic influence over

7560-470: The grandson of Muhammad Ali , Isma'il, of Albanian descent, was born in Cairo at Al Musafir Khana Palace . His mother was Circassian Hoshiyar Qadin , third wife of his father. Hoshiyar Qadin (also known as Khushiyar Qadin) is reported to be the sister of Pertevniyal Sultan , mother of the Ottoman Emperor Abdulaziz , who ruled from 1861 to 1876 and who also was deposed at the behest of

7680-474: The historian Eugene Rogan has observed, "the irony of the situation was that Egypt had embarked on its development schemes to secure independence from Ottoman and European domination. Yet with each new concession, the government of Egypt made itself more vulnerable to European encroachment." This control of the country by Europeans was unacceptable to many Egyptians , who united behind a disaffected Colonel Ahmed Urabi . The Urabi Revolt consumed Egypt. Hoping

7800-538: 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

7920-566: The international opera repertoire with the utmost musicality. On April 11, 1938, in her public debut, Callas ended the recital of Trivella's class at the Parnassos music hall with a duet from Tosca . Callas recalled that Trivella had a French method, which was placing the voice in the nose, rather nasal... and I had the problem of not having low chest tones , which is essential in bel canto ... And that's where I learned my chest tones. However, when interviewed by Pierre Desgraupes on

8040-585: The language of the ruling elite in the Nile delta during the hundreds of years of Ottoman rule. In the following decades, Arabic would further expand and eventually replace Turkish in the army and in administration, leaving Turkish to be used only in correspondence with the Ottoman Sultan in Constantinople. Maria Callas Maria Callas Commendatore OMRI (born Maria Anna Cecilia Sofia Kalogeropoulos ; December 2, 1923 – September 16, 1977)

8160-440: 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

8280-444: The least talented pupil, he can teach you something that you, the most talented, might not be able to do." After several appearances as a student, Callas began appearing in secondary roles at the Greek National Opera. De Hidalgo was instrumental in securing roles for her, allowing Callas to earn a small salary, which helped her and her family get through the difficult war years. Callas made her professional debut in February 1941, in

8400-574: 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

8520-410: The marriage dissolved. It was Meneghini's love and support that gave Callas the time needed to establish herself in Italy, and throughout the prime of her career, she went by the name of Maria Meneghini Callas. After La Gioconda , Callas had no offers, and when Serafin, looking for someone to sing Isolde , called on her, she told him that she already knew the score, even though she had looked at only

8640-643: The money went for the construction of the Suez Canal. About £46 million went to construct 8,000 miles (13,000 km) of irrigation canals to help modernize agriculture. He built over 900 miles (1,400 km) railroads, 5,000 miles (8,000 km) of telegraph lines, 400 bridges, harbor works in Alexandria, and 4,500 schools. The national debt rose from £3 million to about £90 million, in a country with 5 million population and an annual treasury revenue of about £8 million. Isma'il launched vast schemes of internal reform on

8760-639: 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

8880-614: The music dramas of Wagner . Her musical and dramatic talents led to her being hailed as La Divina ("The Divine One"). Born in Manhattan , New York City, to Greek immigrant parents, she was raised by an overbearing mother who had wanted a son. Maria received her musical education in Greece at age 13 and later established her career in Italy. Forced to deal with the exigencies of 1940s wartime poverty and with near-sightedness that left her nearly blind onstage, she endured struggles and scandal over

9000-476: The new system of mixed courts , by which Europeans were tried by judges from their own states, rather than by Egyptian and Sudanese courts. But at length the inevitable financial crisis came. A national debt of over £100 million sterling (as opposed to three millions when he acceded to the throne) had been incurred by the Khedive, whose fundamental idea of liquidating his borrowings was to borrow at increased interest. The bond-holders became restive, chief among them

9120-454: 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

9240-638: 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

9360-531: The other Great Powers recognized him only as Wāli. Like all Egyptian and Sudanese rulers since his grandfather Muhammad Ali Pasha, he claimed the higher title of Khedive , which the Sublime Porte had consistently refused to sanction. Finally, in 1867, Isma'il succeeded in persuading the Ottoman Sultan Abdülaziz to grant a firman finally recognizing him as Khedive in exchange for an increase in

9480-467: The performance, one critic wrote, "Even the most sceptical had to acknowledge the miracle that Maria Callas accomplished... the flexibility of her limpid, beautifully poised voice, and her splendid high notes. Her interpretation also has a humanity, warmth and expressiveness that one would search for in vain in the fragile, pellucid coldness of other Elviras." Franco Zeffirelli recalled, "What she did in Venice

9600-444: The performances, declared Leonore Callas' "greatest triumph": When Maria Kaloyeropoulou's Leonore let her soprano soar out radiantly in the untrammelled jubilation of the duet, she rose to the most sublime heights...Here she gave bud, blossom and fruit to that harmony of sound that also ennobled the art of the prima donna. After the liberation of Greece, de Hidalgo advised Callas to establish herself in Italy. Callas proceeded to give

9720-600: The premiere of The Consul , but when he suggested Callas, Ghiringhelli said that he would never have Callas at La Scala except as a guest artist. However, as Callas' fame grew, and especially after her great success in I vespri siciliani in Florence, Ghiringhelli had to relent: Callas made her official debut at La Scala in Verdi's I vespri siciliani on opening night in December 1951, and this theatre became her artistic home throughout

9840-507: 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 the fact that

9960-681: The presence of his nephew, employed him in the next few years on missions abroad, notably to the Pope , the Emperor Napoleon III , and the Sultan of the Ottoman Empire . In 1861 he was dispatched at the head of an army of 18,000 to quell an insurrection in Sudan , a mission which he accomplished. After the death of Sa'id, Isma'il was proclaimed Khedive on 19 January 1863, though the Ottoman Empire and

10080-422: The prestigious Athens Conservatoire , without success. At the audition, her voice, still untrained, failed to impress, and the conservatoire's director Filoktitis Oikonomidis  [ el ] refused to accept her without her satisfying the theoretic prerequisites ( solfege ). In the summer of 1937, her mother visited Maria Trivella at the younger Greek National Conservatoire , asking her to take Mary, as she

10200-467: The rarest dramatic and musical gifts", and Evangelos Magkliveras evaluated Callas' performance for the weekly To Radiophonon : The singer who took the part of Marta, that new star in the Greek firmament, with a matchless depth of feeling, gave a theatrical interpretation well up to the standard of a tragic actress. About her exceptional voice with its astonishing natural fluency, I do not wish to add anything to

10320-593: The real great training, maybe even the last real training of the real bel canto . As a young girl—thirteen years old—I was immediately thrown into her arms, meaning that I learned the secrets, the ways of this bel canto , which of course as you well know, is not just beautiful singing. It is a very hard training; it is a sort of a strait-jacket that you're supposed to put on, whether you like it or not. You have to learn to read, to write, to form your sentences, how far you can go, fall, hurt yourself, put yourself back on your feet continuously. De Hidalgo had one method, which

10440-639: The rest of Callas' career. The night of the day she married Meneghini in Verona, she sailed for Argentina to sing at the Teatro Colón in Buenos Aires. Callas made her South American debut in Buenos Aires on May 20, 1949, during the European summer opera recess. Aida , Turandot and Norma roles were directed by Serafin, supported by Mario Del Monaco , Fedora Barbieri and Nicola Rossi-Lemeni. These were her only appearances on this world-renowned stage. Her debut in

10560-482: The revolt could relieve him of European control, Isma'il did little to oppose Urabi and gave into his demands to dissolve the government. Britain and France took the matter seriously, and insisted in May 1879 on the reinstatement of the British and French ministers. With the country largely in the hands of Urabi, Isma'il could not agree, and had little interest in doing so. As a result, the British, and French governments pressured

10680-448: 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

10800-575: The role of Santuzza in Cavalleria rusticana again and followed it with O Protomastoras  [ el ] ( Manolis Kalomiris ) at the ancient Odeon of Herodes Atticus theatre at the foot of the Acropolis . During August and September 1944, Callas performed the role of Leonore in a Greek language production of Fidelio , again at the Odeon of Herodes Atticus. German critic Friedrich Herzog , who witnessed

10920-413: The same career would have been cause enough for surprise; but to attempt to essay them both in the same season seemed like folie de grandeur ". Before the performance actually took place, one incredulous critic snorted, "We hear that Serafin has agreed to conduct I puritani with a dramatic soprano ... When can we expect a new edition of La traviata with [male baritone] Gino Bechi 's Violetta?" After

11040-429: The scale of his grandfather, remodeling the customs system and the post office, stimulating commercial progress, creating a sugar industry, building the cotton industry, building palaces, entertaining lavishly, and maintaining an opera and a theatre. Over one hundred thousand Europeans came to work in Cairo, where he facilitated building an entire new quarter of the city on its western edge modeled on Paris. Alexandria

11160-511: 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

11280-402: 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

11400-477: The small role of Beatrice in Franz von Suppé 's Boccaccio . Soprano Galatea Amaxopoulou, who sang in the chorus, later recalled, "Even in rehearsal, Maria's fantastic performing ability had been obvious, and from then on, the others started trying ways of preventing her from appearing." Fellow singer Maria Alkeou similarly recalled that the established sopranos Nafsika Galanou and Anna (Zozó) Remmoundou "used to stand in

11520-562: 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,

11640-570: The tribute, because of the Khedive's help in the Cretan Revolt between 1866 and 1869 . Another firman changed the law of succession to direct descent from father to son rather than brother to brother, and a further decree in 1873 confirmed the virtual independence of the Khedivate of Egypt from the Porte. Isma'il spent heavily—some went to bribes to Constantinople to facilitate his reform projects. Much of

11760-664: 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

11880-614: The western powers. Thus, Isma'il Pasha was ruling Egypt and Sudan for the entire period when his cousin, Abdulaziz , was ruling the Ottoman empire. After receiving a European education in Paris where he attended the École d'état-major , he returned home, and on the death of his elder brother became heir to his uncle, Sa'id , the Wāli and Khedive of Egypt and Sudan. Sa'id, who apparently conceived his safety to lie in ridding himself as much as possible of

12000-511: The window or drown yourself." Callas justified her behavior..."They say my family is very short of money. Before God, I say why should they blame me? I feel no guilt and I feel no gratitude. I like to show kindness, but you mustn't expect thanks, because you won't get any. That's the way life is. If some day I need help, I wouldn't expect anything from anybody. When I'm old, nobody is going to worry about me." Callas received her musical education in Athens. Initially, her mother tried to enroll her at

12120-612: The wings while [Callas] was singing and make remarks about her, muttering, laughing, and point their fingers at her". Despite these hostilities, Callas managed to continue and made her debut in a leading role in August 1942 as Tosca, going on to sing the role of Marta in Eugen d'Albert 's Tiefland at the Olympia Theatre. Callas' performance as Marta received glowing reviews. Critic Spanoudi declared Callas "an extremely dynamic artist possessing

12240-435: The words of Alexandra Lalaouni: 'Kalogeropoulou is one of those God-given talents that one can only marvel at.' Following these performances, even Callas' detractors began to refer to her as "The God-Given". Some time later, watching Callas rehearse Beethoven 's Fidelio , rival soprano Anna Remoundou asked a colleague "Could it be that there is something divine and we haven't realized it?" Following Tiefland , Callas sang

12360-457: The years in Greece, and in the prime of her career, it became a matter of great public interest, especially after a 1956 cover story in Time magazine which focused on this relationship and later, by Litsa's book My Daughter Maria Callas (1960). In public, Callas recalls the strained relationship with Litsa on her unhappy childhood spent singing and working at her mother's insistence, saying, My sister

12480-469: Was also improved. He launched a vast railroad building project that saw Egypt and Sudan rise from having virtually none to the most railways per habitable kilometer of any nation in the world. Education reform increased the education budget more than tenfold. Traditional primary and secondary schools were expanded and specialized technical and vocational schools were created. Students were once again sent to Europe to study on educational missions, encouraging

12600-415: Was an American-born Greek soprano and one of the most renowned and influential opera singers of the 20th century. Many critics praised her bel canto technique, wide-ranging voice and dramatic interpretations. Her repertoire ranged from classical opera seria to the bel canto operas of Donizetti , Bellini , and Rossini , and further to the works of Verdi and Puccini , and in her early career to

12720-637: Was christened Maria Anna Cecilia Sofia Kalogeropoulos (Greek: Μαρία Άννα Καικιλία Σοφία Καλογεροπούλου ). She was born at Flower Fifth Avenue Hospital (now the Terence Cardinal Cooke Health Care Center) on December 2, 1923, to Greek parents, George Kalogeropoulos (c. 1881–1972) and Elmina Evangelia "Litsa", née Demes, originally Dimitriadou (c. 1894–1982). Callas' father had shortened the surname Kalogeropoulos, first to "Kalos" and subsequently to "Callas" to make it more manageable. George and Litsa Callas were an ill-matched couple from

12840-685: Was christened three years later at the Archdiocesan Cathedral of the Holy Trinity in 1926. When Maria was 4, George Callas opened his own pharmacy, settling the family in Manhattan on 192nd Street in Washington Heights , where Callas grew up. Around the age of three, Maria's musical talent began to manifest itself, and after Litsa discovered that her youngest daughter also had a voice, she began pressing "Mary" to sing. Callas later recalled, "I

12960-466: Was engaged to re-open the opera house in Chicago as Turandot , but the company folded before opening. Basso Nicola Rossi-Lemeni , who also was to star in this opera, was aware that Tullio Serafin was looking for a dramatic soprano to cast as La Gioconda at the Arena di Verona . He later recalled the young Callas as being "amazing—so strong physically and spiritually; so certain of her future. I knew in

13080-656: Was engaged to sing the role of Brünnhilde in Die Walküre at the Teatro la Fenice , when Margherita Carosio , who was engaged to sing Elvira in I puritani in the same theatre, fell ill. Unable to find a replacement for Carosio, Serafin told Callas that she would be singing Elvira in six days; when Callas protested that she not only did not know the role, but also had three more Brünnhildes to sing, he told her "I guarantee that you can". Michael Scott's words, "the notion of any one singer embracing music as divergent in its vocal demands as Wagner's Brünnhilde and Bellini's Elvira in

13200-773: Was instrumental in arranging Franco Corelli 's debut at La Scala in 1954, where he sang Licinio in Spontini's La vestale opposite Callas' Julia. The two had sung together for the first time the year previously in Rome in a production of Norma . Anthony Tommasini wrote that Corelli had "earned great respect from the fearsomely demanding Callas, who, in Mr Corelli, finally had someone with whom she could act." The two collaborated several more times at La Scala, singing opposite each other in productions of Fedora (1956), Il pirata (1958) and Poliuto (1960). Their partnership continued throughout

13320-497: Was made to sing when I was only five, and I hated it." George was unhappy with his wife favoring their elder daughter, as well as the pressure put upon young Mary to sing and perform, and Litsa was increasingly embittered with George and his absences and infidelity, and often violently reviled him in front of their children. The marriage continued to deteriorate, and in 1937, Litsa returned to Athens with her two daughters. Callas' relationship with her mother continued to erode during

13440-682: Was mostly bad. In 1957, she told Chicago radio host Norman Ross Jr., "There must be a law against forcing children to perform at an early age. Children should have a wonderful childhood. They should not be given too much responsibility." Biographer Nicholas Petsalis-Diomidis  [ el ] says that Litsa's hateful treatment of George in front of their young children led to resentment and dislike on Callas' part. According to both Callas' husband and her close friend Giulietta Simionato , Callas related to them that her mother, who did not work, pressed her to "go out with various men", mainly Italian and German soldiers, to bring home money and food during

13560-425: Was not a contralto , as she had been told, but a dramatic soprano . Subsequently, they began working on raising the tessitura of her voice and to lighten its timbre . Trivella recalled Callas as A model student. Fanatical, uncompromising, dedicated to her studies heart and soul. Her progress was phenomenal. She studied five or six hours a day. ...Within six months, she was singing the most difficult arias in

13680-583: Was prevented from expanding into Ethiopia after his army was repeatedly defeated by Emperor Yohannes IV , first at Gundet on 16 November 1875, and again at Gura in March of the following year. Isma'il dreamt of expanding his realm across the entire Nile including its diverse sources, and over the whole African coast of the Red Sea . This, together with rumours about rich raw material and fertile soil, led Isma'il to expansive policies directed against Ethiopia under

13800-439: Was really incredible. You need to be familiar with opera to realize the size of her achievement. It was as if someone asked Birgit Nilsson , who is famous for her great Wagnerian voice, to substitute overnight for Beverly Sills , who is one of the great coloratura sopranos of our time." Scott asserts that "Of all the many roles Callas undertook, it is doubtful if any had a more far-reaching effect." This initial foray into

13920-414: Was right. The situation was aggravated by George's philandering and was improved neither by the birth of a daughter, named Yakinthi (later called "Jackie") in 1917, nor the birth of a son, named Vassilis, in 1920. Vassilis's death from meningitis in the summer of 1922 dealt another blow to the marriage. In 1923, after realizing that Litsa was pregnant again, George made the decision to move his family to

14040-409: Was slim and beautiful and friendly, and my mother always preferred her. I was the ugly duckling, fat and clumsy and unpopular. It is a cruel thing to make a child feel ugly and unwanted... I'll never forgive her for taking my childhood away. During all the years I should have been playing and growing up, I was singing or making money. Everything I did for them was mostly good and everything they did to me

14160-405: Was the real bel canto way, where no matter how heavy a voice, it should always be kept light, it should always be worked on in a flexible way, never to weigh it down. It is a method of keeping the voice light and flexible and pushing the instrument into a certain zone where it might not be too large in sound, but penetrating. And teaching the scales, trills, all the bel canto embellishments, which

14280-684: Was then called, as a student for a modest fee. In 1957, Trivella recalled her impression of "Mary, a very plump young girl, wearing big glasses for her myopia": The tone of the voice was warm, lyrical, intense; it swirled and flared like a flame and filled the air with melodious reverberations like a carillon . It was by any standards an amazing phenomenon, or rather it was a great talent that needed control, technical training and strict discipline in order to shine with all its brilliance. Trivella agreed to tutor Callas, completely waiving her tuition fees, but no sooner had Callas started her formal lessons and vocal exercises than Trivella began to feel that Callas

14400-467: Was too fat for Butterfly and did not like the idea of opera in English. Although no written evidence of this offer exists in the Met's records, in a 1958 interview with the New York Post , Johnson confirmed that a contract was offered: "... but she didn't like it—because of the contract, not because of the roles. She was right in turning it down—it was frankly a beginner's contract." In 1946, Callas

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