"Nabucco" to "Aida" - via Egitto

Exploring the 2016-2017 Met Opera season ... Decided to look at Verdi's "Nabucco" and "Aida" together. In the process, discovered Rossini's Moses operas and that all four share DNA strands.

THE WORKS

"Nabucco" premiered in 1841.

"Abigail" steals crown,

Thunderstruck king converted;

Lear-light Verdi work.

Program notes cite Rossini's "Mose in Egitto" as a major influence on the work.

"Mose in Egitto" premiered in 1818.

Vick updates Moses

to Syria, migrant crisis.

Sacred score sublime.

Rossini later transformed the work to:

"Moise et Pharaon," which premiered in Paris in 1827.

Revised in French

By Rossini, the music 

More meditative.

30 years after "Nabucco," "Aida" marched on the opera stage.

Verdi triangles

Abound. Slave's love conflicts with

Patriotic love.

COMMON TRAITS

Besides being composed by Italians, the works possess other traits in common.

SETTING 

They are set in the Middle East. One can argue that Egyptomania courses through these works, culminating in the Cairo Opera House premiere of "Aida."

• Mose in Egitto: Egypt
• Moise et Pharaon: Egypt
• Nabucco: Jerusalem / Babylon
• Aida: Egypt

NARRATIVES OF OPPRESSION

They feature choruses of subjugated populations, something Italian audiences can easily identify with having been subjects of foreign powers. To think there were three Italian Wars of Independence. Third time's the charm.

• Mose in Egitto: Hebrews
• Moise et Pharaon: Hebrews
• Nabucco: Jews / Israelites
• Aida: Nubians

ANTHEMS

They feature anthems, songs that serve to unite a group of people. 
Moses and the Hebrews sing a prayer to a God that unites them. The Israelites in "Nabucco" also sing of their plight, another call to God. Aida's farewell to her country is a patriot's sacrifice, all the more moving post-Risorgemento because its unification was hard-fought. Anthems stir audiences' emotions more than romantic duets. 
Perhaps because more people can probably say they know what loving a country means than what falling in love with someone means.


Mose in Egitto: "Dal tuo stellato soglio" 

Moise et Pharaon: "Dal tuo stellato soglio," en francais. 

Nabucco: "Va, pensiero, sull'ali dorate"

Aida: "O Patria Mia" 

OTHER NOTES

ACTS OF GOD

There are acts of God featured in the 3 earlier works.

• Mose in Egitto: The plagues and the parting of the Red Sea
• Moise et Pharaon: As above.
• Nabucco: Nabucco thunderstruck.
• Aida: There are no acts of God in "Aida" because Verdi concerns himself more with human actions.

VERDI'S MATURATION

Verdi sharpened "Nabucco" to "Aida" in the same way that Rossini refashioned his "Moses" to "Moise." The latter works are also more suited to the French Opera tradition. They made room for ballet.

Verdi refined the love triangle in "Nabucco" between Abigaille, Ismaele, and Fenena to "Aida's" love triangle between Amneris, Radames, and Aida. The latter work has a more solid base. Amid the spectacle, no one loses sight of the smaller pyramid. In "Aida," each of the lead roles are three-dimensional. I dare you to hate Amneris at the end. She merits the mantel of tragic heroine as much as Aida. 

To use the buzzword of the moment, I admire Verdi for his grit. He worked until he got better. "Aida" was his best "Nabucco." And to illustrate, listen to the marches from his two works. Which one best suits its narrative? There's a reason why many have walked to the "Aida" march, suitable or not - for me, it was grade school graduation.