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FIRST CONCERT MONDAY EVENING, APRIL 12tk, 1909 7:45 O'CLOCK SOLOISTS: Mme. Jean ne Jomelli, Soprano Mezzo Soprano Tenor Bass Baritone MmE. Frieda Langendoree, Dr. Franklin Lawson, Mr. Edwin Lockhart, Mr. FrEderick Hastings, The Dresden Philharmonic Orchestra—Willy Olsen, Conductor. Victor Ila Clark, Associate Conductor. Syracuse Music Festival Association Chorus—Tom Ward, Associate Conductor. PROGRAM Verdi Opera, “Aida” Cast: . MmE. Jeanne Jomelli Aida, MmE. Frieda LanGEndorEE Dr. Franklin Lawson . . Mr. Edwin Lockhart Amneris, Radames, The King, Ramphis, Mr. FrEderick Hastings MUSIC OF THE CONCERT “ AIDA ” Verdi T he Opera “Aida” was written by Guiseppi Verdi in 1871, for the Khedive of Egypt, and was given its first performance in Cairo, December 24, of the same year; in Milan, February 8, 1872. In 1873 it was produced in New York city and three years later its first appearance in Paris took place. Conflicting accounts of the initial production are given by contemporaneous writers, but all were unanimous in their favorable criticism of its music, its dramatic power, its gorgeous instrumenta- tion, its captivating melody and its sonorous harmonies. “Aida” has a most dra matic plot; full of action and giving opportunities for the display of Oriental pomp and ceremony, for dancing and the employment of all the apparatus of the grand opera. The story is one of love and war and loyalty, in contrast with hatred, revenge and intrigue—dominated by the influence of the cruel and arrogant Egvptian priesthood. There are grand chorus effects, notably in Acts I and II, and from beginning to end the audience realizes that there is no uncertainty in the rnind of the composer as to the effect he desired to produce, nor any lapse from the sustained power of portrayal. There are certain Oriental characteristics displayed in some of the melodies and harmonies, as in the scene in which appears the High Priestess— in conjunction with the Priestesses and the Priests; while several of the dances have barbaric quality in rhythm and color. Of “typical motives,” as the terrn is ordinarily emploj'ed, it may be said no trace is found, but there are certain themes to which dramatic significance may be given. The power of Verdi’s work in “Aida” is its naturalness. From the production of “Aida” may be dated the advent of the greater Verdi, in whose works have been combined the beauty of the melody of the Italian and the dramatic intensity and forceful use of the Orchestra of the German schools. 10