Director John Hoomes believes that for all of its pomp and grandeur, "Aida" is really a chamber opera

Act II Triumphal March

In November 1869, Khedive Ismail, the ruler of Egypt (who three years later would contribute handsomely to the fund for Wagner's theater in Bayreuth), announced plans to open a new opera house in Cairo as part of the celebrations surrounding the opening of the Suez Canal. He asked Verdi to compose an "inaugural hymn" for its opening night, which was planned for November 1870. Verdi was not too happy with this idea, and declined. But he was enthusiastic when an alternative suggestion was proposed; he would compose an opera based on an ancient Egyptian subject. And Verdi’s Aida was a huge smash hit for everyone involved.

Just as Aida was becoming a worldwide success, Verdi created an official production book to show other producers how the opera should be done. This book detailed approved stage plans, scenic positioning, and instructions for every move and gesture, down to the placement of the chorus. The production book also included such practical tips as how to extinguish any gas flame jets that might set fire to Amneris when she entered in the last scene in her long mourning veil. By creating this production book, Verdi felt secure that when Aida was staged, he had laid out the ground plan for that production’s success. By Verdi’s insistence that someone follow every little detail, he helped create a position which was relatively new in opera at the time -- the Stage Director.

Arizona Opera presents "Aida" for the first time in over a decade

The opera Aida has now become synonymous with the term “Italian Grand Opera”. On the surface, that is certainly true, but it’s not really fair to the work, or what Verdi strove so lovingly to create. The opera may often be seen as a type of Cecil B. DeMille juggernaut that encompasses all of Egypt (and often a few rented camels). But at its heart, Aida is actually an intimate chamber opera about the intense love triangle between the three central characters. The opera just happens to have a giant parade running smack down the middle. 

For all the opera’s pomp and grandeur, the show really comes to life if the character relationships are clearly defined, and if the characters become…well…human. One of our goals in this production is to do just that. Love and passion have not changed over the centuries and opera, as an art form, offers long standing proof.  -- JOHN HOOMES

Performances are March 3 & 4 at Tucson Music Hall and March 9-11 at Phoenix Symphony Hall