Atlanta Symphony Hall is the home venue of the Atlanta Symphony Orchestra . It is located within the Woodruff Arts Center at 1280 Peachtree Street in Atlanta , Georgia , USA.
59-442: The venue has a total capacity of 1,762 seats on three levels: 1,074 in the orchestra section, 349 in the lower balcony and 339 in the upper balcony. There are also spaces for 12 wheelchairs and 12 companion seats, as well as 82 additional seats in the orchestra pit, depending on the stage set-up. The first Atlanta Symphony Orchestra recording (a Robert Shaw Christmas album) was made there in 1975. Not known for its acoustic excellence,
118-476: 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
177-403: 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
236-495: A 50th anniversary performance at Yale University , where Hindemith was a professor when he wrote the work. In 1998 Yale also awarded Shaw an honorary doctorate. He was also a recipient of Yale's Sanford Medal . Shaw also received the University of Pennsylvania Glee Club Award of Merit in honor of his vast influence on male choral music. He was a National Patron of Delta Omicron , an international professional music fraternity, and
295-671: A massed 640 voice chorus made up of auditioned university choirs from 16 different countries invited to the Third International University Choral Festival to perform at the Lincoln Center for the Performing Arts , New York after a two-week concert tour of USA university campuses. A recording was made of the festival concert. During their tour, on the eve of the breaking of the Watergate Scandal ,
354-483: 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
413-646: A move toward historically informed performance , Shaw's first recording of Messiah , in 1966, used a chorus of only thirty-one singers. In 2016, Shaw's recording of the Rachmaninoff's All-Night Vigil (Vespers) , by the Robert Shaw Festival Singers, was added to the National Recording Registry of the Library of Congress . Aida Aida (or Aïda , Italian: [aˈiːda] )
472-413: A newer hall in a different location ( Atlanta Symphony Center ) was proposed in the early 2005, but this project was later abandoned, due to a lack of funding. However, there are plans in place to renovate the existing hall in order to bring it up to standard. The hall also offers wireless audio aids for audience members who are hearing impaired. This Fulton County, Georgia state location article
531-571: A number of younger conductors—including Jameson Marvin , Margaret Hillis , Maurice Casey, Ken Clinton, Donald Neuen , Ann Howard Jones, and current Atlanta Symphony Orchestra Chorus and Chamber Chorus director Norman Mackenzie — and inspiring thousands of singers with whom he worked around the United States. His work set new choral standards in the United States, and many of his recordings are considered benchmarks for choral singing. Although his formative years and much of his work occurred before
590-507: 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 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
649-674: 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
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#1733085315016708-533: A requiem for Franklin D. Roosevelt from the newly naturalized German-born composer Paul Hindemith , who responded with When Lilacs Last in the Dooryard Bloom'd , a setting of Walt Whitman 's poem commemorating the death of Abraham Lincoln . Shaw led the premiere of the work in 1946 with the Collegiate Chorale and continued to champion the work well into the last decade of his life; in 1996 he conducted
767-532: A scenario often attributed to the French Egyptologist Auguste Mariette , but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera . 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
826-560: A series of summer festivals and week-long Carnegie Hall workshops for choral conductors and singers. He can be seen again conducting the Atlanta Symphony Orchestra & Chorus in footage of the 1996 Olympic Ceremonies. He died in 1999, in New Haven, Connecticut following a stroke, aged 82. During his long career, Shaw drew attention to choral music and came to be considered the "dean" of American choral conductors, mentoring
885-541: A single record for American Decca and numerous releases on RCA Victor during the 78 rpm era. During the 1950s and 1960s, Shaw and his Chorale made many LP's for RCA Victor Red Seal Records . From 1977 onward, most of his recordings appeared on the Telarc label. For that company he led not only the Atlanta Symphony Orchestra and Chorus but also the Robert Shaw Chamber Singers, which drew its personnel largely from
944-444: Is a stub . You can help Misplaced Pages by expanding it . This Atlanta, Georgia –related article is a stub . You can help Misplaced Pages by expanding it . This article on a music performance venue is a stub . You can help Misplaced Pages by expanding it . Robert Shaw (conductor) Robert Lawson Shaw (30 April 1916 – 25 January 1999) was an American conductor most famous for his work with his namesake Chorale , with
1003-534: Is a tragic opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni . Set in the Old Kingdom of Egypt , it was commissioned by Cairo 's Khedivial Opera House and had its première there on 24 December 1871, in a performance conducted by Giovanni Bottesini . Today the work holds a central place in the operatic canon, receiving performances every year around the world. At New York's Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows
1062-516: 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
1121-401: 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
1180-743: 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
1239-461: 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
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#17330853150161298-665: 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
1357-544: The Cleveland Orchestra and Chorus, and the Atlanta Symphony Orchestra and Chorus. He was known for drawing public attention to choral music through his wide-ranging influence and mentoring of younger conductors, the high standard of his recordings , his support for racial integration in his choruses, and his support for modern music , winning many awards throughout his career. Robert Lawson Shaw
1416-516: 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
1475-814: The Robert Shaw Chorale in 1948, a group which produced numerous recordings on RCA Victor up until his appointment in Atlanta. The Chorale visited 30 countries in tours sponsored by the U.S. State Department . In 1952 he was choral director for the Broadway musical, My Darlin' Aida . Shaw was named music director of the San Diego Symphony in 1953 and served in that post for four years. Following his San Diego tenure, Shaw joined George Szell , one of his prior teachers at Mannes School of Music in New York, to work with
1534-618: 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 the opera
1593-682: The Atlanta Symphony Chamber Chorus, and the Robert Shaw Festival Singers, a group assembled for Shaw's summer choral workshops in France. His last recording was for Telarc of Dvořák 's Stabat Mater with the Atlanta Symphony Orchestra, chorus, and soloists. Shaw recorded many of the great choral-orchestral works more than once, and his performances of Handel 's Messiah , J.S. Bach 's Mass in B minor , Beethoven's Missa Solemnis , Orff 's Carmina Burana , Verdi's Requiem , and other similar masterworks remain highly regarded. In
1652-556: 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 the Teatro Regio di Parma (20 April 1872), the Teatro di San Carlo (30 March 1873), La Fenice (11 June 1873),
1711-514: The Christmas albums he had previously recorded for RCA Victor , including The Many Moods of Christmas . Shaw collaborated with noted choral composer and conductor Alice Parker (a former student of Shaw's at the Juilliard School ) on arrangements of folksongs, hymns, spirituals, and Christmas music that remain popular with choruses today. Shaw recorded for a variety of labels, beginning with
1770-514: The Cleveland Orchestra in 1956. He served as the assistant conductor of the Cleveland Orchestra for eleven seasons until 1967. He also took over the fledgling Cleveland Orchestra Chorus (started in 1952) and fine-tuned it into one of the finest all-volunteer choral ensembles sponsored by an American symphony orchestra - an ensemble that continues to this day. While in Cleveland, Shaw was also
1829-457: 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,
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1888-625: 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
1947-561: 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
2006-491: 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
2065-569: The choirs also performed before First Lady Pat Nixon , at the White House , the John F. Kennedy Center for the Performing Arts , and the United Nations . After stepping down from his Atlanta post in 1988, Shaw continued to conduct the Atlanta Symphony Orchestra as its Music Director Emeritus and Conductor Laureate, was a regular guest conductor with other orchestras including Cleveland, and taught in
2124-583: The choral director at the First Unitarian Church of Cleveland where he led a community music program. From 1967 to 1988 Shaw was music director and conductor of the Atlanta Symphony Orchestra. In 1970, he founded the Atlanta Symphony Orchestra Chorus and worked to recreate the success he had had for Cleveland in preparing them for performances and recordings with their namesake symphony orchestra. On 30 April 1972, Shaw conducted
2183-432: 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
2242-531: 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 the audience consisted of invited dignitaries, politicians and critics, but no members of
2301-438: 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
2360-507: 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 the first time at the Milan première. Verdi had asked her fiancé, Angelo Mariani , to conduct
2419-707: The group performed Beethoven 's Symphony No. 9 with the NBC Symphony and Arturo Toscanini , who famously remarked, "In Robert Shaw I have at last found the maestro I have been looking for." Shaw continued to prepare choirs for Toscanini until March 1954, when they sang in Te Deum by Verdi and the prologue to Mefistofele by Boito . Shaw's choirs participated in the NBC broadcast performances of three Verdi operas: Aida , Falstaff and A Masked Ball , all conducted by Toscanini, with soprano Herva Nelli . They can be seen on
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2478-542: The home videos of the telecasts of Aida (from 1949) and Beethoven's Ninth Symphony (from April 1948), also conducted by Toscanini. As the video shows, Toscanini refused to take a bow until he went backstage and brought an apparently reluctant Shaw out to take a joint bow at the end of the Beethoven telecast. Shaw was also Charles F. Shaw 's second cousin and often vacationed at his winery in Napa Valley. He went on to found
2537-538: 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
2596-440: 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
2655-574: 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
2714-645: 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
2773-454: 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
2832-507: 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 the première were designed by Auguste Mariette , who also oversaw
2891-448: 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
2950-431: The rise of mainstream interest in informed historic performance practice, his recordings, reflecting his insistence that clearly projected texts serve as the foundation for musical interpretation, do not sound dated in comparison to more modern efforts by frequently smaller forces. He created techniques and approaches still in use today. Shaw was a champion of modern music from the beginning of his career. He commissioned
3009-402: 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
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#17330853150163068-562: The subject of a symposium at the national conference of the American Choral Directors Association in 1987. Shaw graduated from Pomona College in the class of 1938. Shortly afterward, Shaw was hired by popular band leader Fred Waring to recruit and train a glee club that would sing with the band. In 1941, Shaw founded the Collegiate Chorale , a group notable in its day for its racial integration . In 1948,
3127-562: 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,
3186-665: 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
3245-437: Was also noted for his many collaborations with Arturo Toscanini and the NBC Symphony Orchestra on several operatic and choral radio broadcasts and recordings. Under Shaw, the Atlanta Symphony Orchestra made its first recordings, beginning with a 2-LP album set called Nativity in 1976, based on the annual Christmas concerts that Shaw performed in Atlanta beginning in 1970. For Telarc he recorded several digital remakes of
3304-455: Was an honorary initiate of Phi Mu Alpha Sinfonia ( Alpha Chi , University of Tulsa, 1945). Although noted in classical repertoire, Shaw hardly limited himself to that genre. The 104 recording credits on his discography also include recordings of sea shanties, glee club songs, sacred music and spirituals, musical theater numbers, Irish folk tunes, and, most notably, Christmas albums that have remained bestsellers ever since their release. Shaw
3363-542: Was born in Red Bluff, California . His father, Rev. Shirley R. Shaw, was a minister, and his mother was a concert singer. He had four siblings, one of whom was singer Hollace Shaw . Shaw attended Eagle Rock High School in the early 1930s where he sang in the choirs directed by Howard Swan , a man who would later have a lengthy career as an internationally renowned choral director at Occidental College from 1934 through 1971, and whose career and writings on choral music were
3422-483: 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 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
3481-628: 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
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