马林斯基剧院, 大剧场

阿依达

四幕歌剧

用意大利语唱
(俄语和英语字母)

Performers

指挥:

安东·托尔别耶夫

安奈瑞斯: Irina Kolodyazhnaya
阿依达: Liliya Kadnikova
拉达梅斯: Mergen Sandanov
朗费斯: Yevgeny Plekhanov
阿摩纳斯洛: Dmitry Nelasov
埃及法老王: Sergei Pleshivtsev

Credits

Music by Giuseppe Verdi
Libretto by Antonio Ghislanzoni

Stage Director and Set and Lightning Designer: Alexei Stepanyuk
Musical Director: Pavel Smelkov
Costume Designer: Varvara Evchuk
Video Graphics Designer: Vadim Dulenko
Choreographer, Assistant Stage Director: Ilya Ustyantsev
Principal Chorus Master: Larisa Shveikovskaya
Musical Preparation: Alexei Tikhomirov
Musical Coach: Massimiliano Bullo
Assistant Stage Director: Anna Dronnikova
Assistant Production Designer: Ivan Tolstov
Assistant Lightning Designer: Vasiliy Shabala

SYNOPSIS

第一幕
第一场。曼菲斯法老王宫殿。时值南边的埃塞俄比亚来犯。大祭司朗费斯祈求埃及最重要的一位女神伊西斯护佑,希望她会指定由哪位军官率领埃及大军出征讨伐。埃及军官拉达梅斯则在心中暗想:如果他是那位军官该有多好,一旦出征胜利,他就可以把荣耀献给心爱的埃及女奴阿依达,赢得胜利后可以解救她。 埃及公主安奈瑞斯走进神殿大厅,她深爱着拉达梅斯。她看见拉达梅斯心神不定,想猜出其心中秘密。此时,阿依达登场,神情稍有异样,安奈瑞斯心中不免起疑,不由得对阿依达起了戒心与妒意。

第二场。法老王宫殿大厅里。埃塞俄比亚国王阿摩纳斯洛率领军队入侵埃及。 法老王当众宣布:神明已经指定由拉达梅斯担任此次出征的统帅,全体高唱出征之歌。

第三场。. 阿依达心里痛苦万分,既牵挂着祖国和父亲─埃塞俄比亚国王阿摩纳斯洛,也忧心着她的爱人拉达梅斯。

第四场。曼菲斯神殿大厅。神殿里,大祭司朗费斯带著刚刚被任命为出征大将军的拉达梅斯来此祈求神明护佑,帮助埃及大军打败前来侵犯的埃塞俄比亚军队,以卫家邦。拉达梅斯跑受神的胄和战器,亦替埃及战士们祈福。

第二幕
第五场。埃及公主安奈瑞斯寝宫。公主等待拉达梅斯率领埃及大军出征胜利,凯旋归来。安奈瑞斯仍然怀疑阿依达和拉达梅斯暗通款曲,于是她屏退左右,骗阿依达说拉达梅斯已经战死,来试探阿依达的真心。阿依达中计,在极度悲痛中,她承认了对拉达梅斯的爱,激起了安奈瑞斯的妒忌和愤怒。她将实情告诉阿依达:“拉达梅斯并没有战死,还将率领大军凯旋归来,有种就和我在情战上决战吧!”

第六场。底比斯城门广场。群众夹道欢呼,迎接埃及大军胜利归来。拉达梅斯将战利品─包括埃塞俄比亚战犯在内─献给埃及法老王,阿依达赫然发现自己的父亲─埃塞俄比亚国王阿摩纳斯洛─也在战犯群中。阿摩纳斯洛要阿依达不要声张他的真实身份,只说埃塞俄比亚国王已经为国捐躯。

第三幕
第七场。尼罗河畔的伊西斯神殿前。埃及公主安奈瑞斯来到神殿,在她和拉达梅斯的婚礼举行之前,祈求众神赐予宠爱和祝福。阿依达也悄悄来到神殿前,等待拉达梅斯前来相会。此时,阿摩纳斯洛也悄然来到此地,他要阿依达从拉达梅斯口中套出埃及军队的进军路线,阿依达勉强答应。 随后拉达梅斯到来,阿依达提出一起逃出埃及,拉达梅斯再三犹豫后同意了。听到了想要得到的机密后,躲藏在树后的阿摩纳斯洛现身并袒露了身份。拉达梅斯感觉受到了欺骗,便向祭司长自首,于是被抓住了。阿依达和阿摩纳斯洛一起逃走了。

第四幕
第八场。地牢里拉达梅斯此时已被收押,静候审判。安奈瑞斯想要相助搭救,却被拒绝,因为此时拉达梅斯的心、 甚至连名誉和性命都早已全给了阿依达,如今他只想一死,也算是对心爱的阿依达所做的牺牲奉献。 由大祭司朗费斯宣布神明的旨意─拉达梅斯将被处以活埋的极刑;安奈瑞斯闻言,痛责祭司们的无情, 但大祭司仍坚持叛国者必须接受惩罚,无可赦免。

第九场。神殿地牢。阿依达偷进墓空特来陪伴拉达梅斯, 在爱人怀里相拥而终。在祭司们严肃的歌声中,怀着对永恒之爱的向往,两人迎接死亡的来临。阿依达长眠于拉达梅斯的怀中。

ABOUT THE PRODUCTION

By the end of the 1860s, the name Verdi gained worldwide recognition. His compositions found their way into the repertoire of the leading musical stages, and the largest theaters such as the Paris Opera and the St. Petersburg Mariinsky Theatre sought cooperation with the composer. As for Verdi himself, he was busy inventing a plot for a new drama, and a lucky chance came to his aid. The Egyptian Government asked the composer to write an opera for the Cairo Theatre whose construction was timed to the opening of the Suez Canal. And then Verdi’s friend brought him the script written by the famous Egyptologist Auguste Mariette based on an old legend.

Fascinated by the plot of Aida, the composer immediately set to work. In an effort to convey the exotic atmosphere of the distant era, he studied history, life and arts of the Ancient Egypt, and wrote the libretto together with poet Antonio Ghislanzoni. Verdi’s goal was to achieve theatrical expressiveness of each word and clarity of action saturated with sharp dramatic situations and collisions of strong characters.

Aida has such features of a large-scale opera as full-fledged crowd scenes, sophisticated ensembles, choreography pieces, choirs and processions. However, this decorative pomp does not infringe upon the development of a psychological drama based on the eternal conflict between feelings and duty. Each of the main characters will have to deal with that conflict. Their complex, sometimes contradictory images reveal new facets in the making, and even the classic love triangle presented by Verdi is far from being unequivocal. The “quiet” finale of the opera is also unusual. “Not so much sounds as tears”, as one of the composer’s contemporaries described the duet of the dying Aida and Radames.

The orchestra in Aida is rarely limited to a simple accompaniment to singing, but plays an important role in the musical drama. The researchers noted that Verdi took into account Wagner’s experience without changing the vocal nature of the opera genre. The characters in Aida have orchestral themes that accompany their appearance on the stage or give out their thoughts. Also, certain groups of timbres are assigned to the characters: woodwinds for Aida, strings for Amneris, brass wings for the Priests. The musical instruments also have a special function: they create colorful oriental flavor. For example, Rimsky-Korsakov admitted that he had used Aida “to learn dramatic orchestra”, noting the “brilliant idea” of the drums preceding the duo of Radames and Aida in Act III and the Nile cello flautandos, as well as the skillful use of the flutes. Much attention has been paid to the pipes and harps, the oldest instruments widely used in the Egyptian music since the Pharaohs’ times. One of the most spectacular scenes of Aida is the Triumphal March of Act II performed by stage pipes.

Big opera is inseparable from big performance style. The main characters’ parts require strong beautiful voices, and a rich palette of emotions requires possession of the entire arsenal of expressive means within the limits of a huge tessitura. That is why Aida, despite its popularity, is beyond the strength of many theaters, at least in the form it was originally conceived by Verdi. The premiere of the opera took place in Cairo on the Christmas Eve of 1871. The scenery and costumes were made according to the sketches of Auguste Mariette. The grand success of the performance was compared with the triumph of Radames the vanquisher. Immediately after the performance in Egypt, Aida began its triumphal march through the leading European Opera Theatres.

Nadezhda Koulygina


Premiere: 24 December 1871, Opera House, Cairo
Premiere of this production at the Mariinsky Theatre: 30 December 1998, Mariinsky Theatre, St Petersburg
Premiere at the Primorsky Stage of the Mariinsky Theatre: 11 April 2019, Vladivostok

Running time: 4 hours 10 minutes
The performance has three intervals

Age category 6+

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