* March 26 – The first half of Giuseppe Verdi's opera Aida, conducted by legendary conductor Arturo Toscanini, and performed in concert ( i. e. no scenery or costumes ), is telecast by NBC, live from Studio 8H at Rockefeller Center.

Aida (), sometimes spelled Aïda, is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette.

* Giuseppe Verdi — Aida ( 1871 )

They included Giorgio Ronconi, who created the title role in Verdi's Nabucco ; Felice Varesi, who created the title roles in Macbeth and Rigoletto as well as Germont in La traviata ; Antonio Superchi, the originator of Don Carlo in Ernani ; Francesco Graziani, who was the original Don Carlo di Vargas in La forza del destino ; Leone Giraldoni, the creator of Renato in Un ballo in maschera and the first Simon Boccanegra ; Enrico Delle Sedie, who was London's first Renato ; Adriano Pantaleoni, renowned for his performances as Amonasro in Aida as well as other Verdi roles at La Scala, Milan ; Francesco Pandolfini, whose singing at La Scala during the 1870s was praised by Verdi ; Antonio Cotogni, a much lauded singer in Milan, London and Saint Petersburg, the first Italian Posa in Don Carlos and later a great vocal pedagogue, too ; and Giuseppe Del Puente, who sang Verdi to acclaim in the United States.

Ramfis and Rhadamés were named after characters in Giuseppe Verdi's opera Aida.

He was asked by director Robert Falls to help co-write the book for the musical Aida ( based upon the opera by Giuseppe Verdi ), which, in an earlier format, had failed in regional theatre tryouts.

Toscanini played in orchestras under Giuseppe Verdi and made his debut conducting Aida in 1886, filling in at the last minute for in indisposed conductor.

*“ Giuseppe Verdi, Aida ,” Die Zeit, Band 7 ( 1896 ), p. 62.

In 1980, he directed Giuseppe Verdi's opera " Aida " starring Luciano Pavarotti at San Francisco Opera ( now broadcast version released as DVD ).

Opera also became increasingly popular during this period, and Giuseppe Verdi's Egyptian-themed Aida was premiered in Cairo on December 24, 1871.

The following year this concept, worked into a scenario by Camille du Locle, was proposed to Giuseppe Verdi, who accepted it as a subject for Aida.

In 1974, Caballé sang in a number of performances: Aida at Liceu in January, I Vespri Siciliani at the Metropolitan Opera in March, Parisina d ' Este at Carnegie Hall in March, three Normas in one week at the Bolshoi Theatre in Moscow, with Adriana Lecouvreur at La Scala in April, Norma in Orange in July ( her top single performance, filmed in video by Pierre Jourdain ), the recording of Aida under Riccardo Muti in July, and the Duets recording with Giuseppe di Stefano in August.

She died at the age of thirty-five in 1943, just as she was reaching the peak of her powers as a singer and about to achieve her greatest dream: to star in the title role of Giuseppe Verdi's Aida.

The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813.

In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name.

Kirsten Flagstad as Aida in Aida, opera by Giuseppe Verdi.

** Aida, Aida ( Giuseppe Verdi )

** Amneris, Aida ( Giuseppe Verdi )

** Radamès, Aida ( Giuseppe Verdi )

** Amonasro, Aida ( Giuseppe Verdi )

The modern cimbasso is most commonly used in opera scores by Giuseppe Verdi from Oberto to Aida, and by Giacomo Puccini in Le Villi only, though the word also appears in the score of Vincenzo Bellini's Norma, which premiered in 1831.

Curiously, this scene is a close parallel to one that Verdi was writing at the same time, the scene between Amonasro and Aida.

Verdi's grand opera, Aida, is sometimes thought to have been commissioned for the celebration of the opening of the Suez Canal in 1869, but, according to one major critic, Verdi turned down the Khedive's invitation to write an " ode " for the new opera house he was planning to inaugurate as part of the canal opening festivities.

Teresa Stolz was associated with both Aida and the Requiem ( as well as a number of other Verdi roles ).

While it has not proved to be as immensely popular as the Verdi works that immediately preceded it, namely Aida and Otello, Falstaff has long been an admired favorite with critics and musicians because of its brilliant orchestration, scintillating libretto and refined melodic invention.

( Verdi biographer Mary Jane Phillips-Matz has argued that the scenario was actually written by Temistocle Solera ..) Aida was first performed at the Khedivial Opera House in Cairo on 24 December 1871, conducted by Giovanni Bottesini.

Verdi had also written the role of Aida for the voice of Teresa Stolz, who sang it for the first time at the Milan premiere.

* Radames Aida ( Verdi )

After the completion and premiere of the opera Aida in 1871, Verdi decided that it was time for him to end his successful career as a composer of opera, though he was easily the most popular, and possibly the wealthiest, composer in Italy during the time, much as Rossini had done after the completion of the opera William Tell.

However, Verdi, still maintaining that his career had ended with the composition of Aida, made very little progress on the work.

* The play After Aida — a 1985 play-with-music by Julian Mitchell — depicts the struggle of Giulio Ricordi and Franco Faccio to get the retired Verdi to collaborate with young Boito on a project, which resulted in Otello.

** Richard Mohr ( producer ), Erich Leinsdorf ( conductor ), Grace Bumbry, Plácido Domingo, Sherrill Milnes, Leontyne Price, Ruggero Raimondi, the John Aldis Choir & the London Symphony Orchestra for Verdi: Aida

** Georg Solti ( conductor ), Robert Merrill, Leontyne Price, Giorgio Tozzi, Jon Vickers, & the Rome Opera House Orchestra for Verdi: Aida

* Antonio Ghislanzoni ( 1824 – 1893 ), journalist, poet, and novelist ; he wrote many librettos for Verdi, including La forza del destino and Aida.

Although Otello was his best role, throughout his career, Del Monaco sang a number of other roles with great acclaim, for example: Canio in Pagliacci ( Leoncavallo ), Radames in Aida ( Verdi ), Don Jose in Carmen ( Bizet ), Chenier in Andrea Chénier ( Giordano ), Manrico in Il trovatore ( Verdi ), Samson in Samson and Delilah ( Saint-Saëns ), and Don Alvaro in La forza del destino ( Verdi ).

* Mario Del Monaco: Live-IDIS, 8 tracks-all live recordings, 1951 – 57 ; mostly arias from Verdi ( Ernani, Il Trovatore, La Forza del Destino, Aida ) plus Pollione's aria from Bellini's Norma.

Some of these reports also comment on Aida, for example in the following way ( which is debatable ):

* Donald, Aida Dipace and David Herbert, eds.

Among them is a 1951 recording of Rankin's Amneris in Aida that was conducted by Herbert von Karajan for radio broadcast in Vienna, a recording of Verdi's Requiem at La Scala from that same year, and the 1960 La Scala production of Berlioz's Les Troyens.

He also recorded Don Carlos, Il Trovatore and Aida under Herbert von Karajan

Meanwhile, in her first season at the Met, 1886 – 87, Förster sang several roles in German, including the title role of the Queen of Sheba in Goldmark's Die Königin von Saba, Elsa in Lohengrin, Irene in Wagner's Rienzi, the title role in the U. S. premiere of Verdi's Aida and Elizabeth in Tannhäuser.