The primary source for this text is an undated libretto published by
G. Ricordi & C., Milano and printed some time after 1893. The text
preserves the general layout of the published libretto, in particular
regarding the division of poetic lines among different characters. Stage
instructions are enclosed in brackets rather than in parentheses as in the
published libretto, italics have been used in some cases to distinguish stage
directions that appear in a smaller font in the original, and line numberings
have been added. Significant differences from the text as set by the composer,
based on the full score published by G. Ricordi & C., are noted below, with
the published text on the left and the text as set on the right.
The scene numberings in the libretto represent only the seven different
tableaus, not the French scenes. Nevertheless, the French scenes are
separated from one another in the libretto by their corresponding character
lists and by typographic notations (double horizontal bars). My line
numbering is based on the French scenes, and for the purpose of notation
the French scenes are referred to by small letters following the Act and
Scene designations, e.g. I.1a refers to the opening scene of
I.1 between Ramfis and Radamès, I.1b to the following scene between
Amneris and Radamès, IIIa to the first French scene of Act III,
etc.
The source of the English translation is an undated dual-language libretto
published for the Metropolitan Opera under the management of Giulio
Gatti-Casazza (i.e. between 1908 and 1935), in which the Italian text follows
that of the published Ricordi libretto in most cases where there is a difference
from the score. The translation is unattributed. I have supplied four lines of
translation for text missing from both the Italian and English.
The source of the German translation is an undated libretto published for
G. Ricordi & Co. by Bote & G. Bock. The translation by Julius Schanz
follows the published Italian libretto very closely.
The source of the French text is an undated libretto published by
Calmann-Levy for the first production at the Paris Opéra (1880).
It is not a verse translation (Ghislanzoni is nowhere mentioned), but
rather an original versification by Charles Nuitter of the scenario
by Camille Du Locle, although of course constrained by the musical metre.
Since Verdi was involved with this production, and the score was slightly
revised in connection with it, it must be considered an original text in
its own right, and is presented as such. I have modified the scene
numberings to conform to those of the Italian libretto, along with the
layout of some of the stage instructions, and the verse lineation of
the prayer in Act I, Scene 2. The French libretto does indeed number the
French scenes, and more precisely than that implied by the divisions in
the Italian libretto, since Aida's solos in Acts I and 3, the arrival of
the prisoners in II/2, and of the priests in Act 4 begin separate scenes.
The correspondence is as follows:
| Title Page |
{versi} di Antonio Ghislanzoni
The title page reads merely "di Antonio Ghislanzoni",
but on the cover page it is "versi di A. Ghislanzoni." This is an
accurate attribution, in light of the fact that the detailed scenario
was the work of others, originally Auguste Mariette Bey, with subsequent
contributions and modifications of uncertain extent by Camille du Locle
and by Verdi, and that Ghislanzoni, a respected and skilled librettist in
his own right, was engaged only for the express task of versification.
|
| Personaggi |
The list of extra personnel in the score omits Soldati.
|
| I.1b:1 |
Quale insolita fiamma
|
Quale insolita gioia
|
| I.1c:21 |
No, sull'afflitta patria
|
No, sulla mia patria
|
|
While lines 17–28 are sung together, Radamès comes in before Aida, and
both Amneris and Radamès complete the texts of their stanzas before Aida joins
the ensemble, contrary to the implications of the order in the libretto.
|
| I.1d:17 |
Like the first half of the line, «Tremenda, inesorata» is sung by all
the men but the King.
|
| I.1d:22 |
I miei voti fur paghi.
|
Son paghi i voti miei!
|
| I.1d:26 |
Su! del Nilo al sacro lido
|
Su! del cor prorompa il grido
|
|
However, the King later sings «Su! del Nilo al sacro lido» in ensemble
with the chorus at 34.
|
| I.1d:42–45 |
In the score Amneris' lines follow those of Radamès (38–41) and Aida
(46–49), which are sung in ensemble.
|
| I.1d:51 |
Va, Radamès, ritorna vincitor!
|
Ritorna vincitor!
|
|
In the score, sung first by Amneris and then echoed by all but Radamès.
|
| I.2:1 |
Immenso Fthà,
|
Possente Fthà
|
| I.2:4–17 |
In the score, the 3 verses of the priests alternate with those of the
priestess and priestesses.
|
| I.2:6 |
The «—» separating this verse from the next is not in the printed
libretto, presumably because it occurs at a page break.
|
| II.1a:6 |
Contesti i lauri ai fior
|
Contesti ai lauri i fior
|
| II.1a:23 |
There is an additional stage instruction in the score immediately preceding
this line: [Entra Aida portando la corona]
|
| II.1b:45 |
comprendi tu?
|
intendi tu?
|
| II.1b:48 |
[reprimendosi]
|
[reprimendosi e cadendo a' piedi d'Amneris]
|
| II.1b:57 |
The [suoni interni] are a reprise of I.1d:34–37 (Su! del Nilo
al sacro lido etc.)
|
| II.1b:68 |
In the score there is a reprise of I.1e:33–34 (Numi, pietà etc.)
|
| II.2:5–8 |
In the score these lines («Vieni, o guerriero vindice / I lauri e i
fior versiam!») follow the triumphal march, after Line 20 («Nel
fortunato dì»).
|
| II.2:45–48 |
The prisoners and slaves sing these lines, while Aida reprises lines 41–44
(«Ma tu, o Re, / il fato colpir», together with Amonasro on line
44).
|
| II.2:52 |
Si compisca dei Numi il voler!
|
Or de' Numi si compia il voler!
|
|
This is how it is sung the first time, but during the ensemble it is as in the
libretto.
|
| II.2:60 |
ravviva l'amor
|
|
When repeated, the line is altered to: «ravviva [l']ardor»
|
| II.2:63 |
E a tal sorte serbata son io?
|
Ed io sola avvilita, reietta?
|
| II.2:85 |
Gli altri sien sciolti.
|
This half line is not set.
|
| II.2:108 |
D'avverso Nume il folgore
|
|
When repeated, the line is altered to: «Qual inatteso folgore»
|
| II.2:112 |
Dall'inatteso giubilo
|
|
When repeated, the line is altered to: «Dall'inatteso gaudio»
|
| II.2:115 |
I sogni del mio cor
|
|
When repeated, the line is altered to: «Le gioje del mio cor»
|
| IIIa:6 |
Madre d'eterno amor
|
Madre d'immenso amor
|
| IIIa:8 |
implora
|
invoca
|
| IIIa:21 |
The aria begins with line 24 («O patria mia, mai più ti rivedrò!»,
first sung immediately before this line.
|
| IIIb:18 |
Un'ora di tal gaudio
|
Un'ora di tal gioia
|
| IIIb:57 |
Va indegna! non sei mia prole
|
Non sei mia figlia
|
| IIIc:35 |
In estasi ignorate
|
In estasi beate
|
| IV.1b:62 |
Ora il cielo compirà
|
Or dal ciel si compirà
|
| IV.1b:74 |
Che veggo!
|
Not set
|
| IV.1b:82 |
[Amneris... mette un grido]
|
|
The cry is a reprise of line 69: «Oh! chi lo salva? Mi sento morir!
ohimè!»
|
| IV.1b:83–91 |
Radamès - Radamès:
|
|
At each accusation the name is repeated thrice, not twice. The
order «Discolpati!» is sung first by Ramfis, then echoed by the
other priests. Following each denunciation «Traditor!» Amneris
reprises phrases from lines 80–81:
«Ah pietà... egli è innocente... lo salvate, Numi, pietà»
|
| IV.2:28 |
Su noi già il ciel dischiudesi
|
Già veggo il ciel dischiudersi
|
| IV.2:31ff |
The songs of the priestesses reprise I.2:1–3:
|
|
Immenso Fthà, del mondo
Spirito animator,
Noi t'invochiamo!
|