This film serves as an adaptation of one of the most renowned works in the realm of Egyptomania, Verdi's opera Aida, which made its debut at the Khedivial Opera House in Cairo in 1871. The significance of this opera in the evolution of Egyptomania is noteworthy; its success resulted in performances in esteemed theaters globally, and it continues to be staged annually in the arena of Verona, Italy. Indeed, the Italian performing arts have consistently embraced this opera within their programming, with La Scala in Milan hosting its inaugural performance of Aida merely a year after its premiere in Egypt. The opulent sets for Aida, overseen by French Egyptologist Auguste Mariette, significantly influenced subsequent portrayals of ancient Egypt within contemporary performing arts.
The film was produced in Italy and filmed at Cinecittà studios located in Rome, which played a pivotal role in the peplum genre within Italy (the Italian term for the “sword-and-sandal” film genre). The costume designs were crafted by Maria de Matteis. Classified under the musical genre, the film featured prominent actors, including a very young Sophia Loren, who at the age of 19 portrayed the titular role of Aida. However, due to the musical nature of the film, it became necessary for these principal characters to be dubbed to preserve the melodic integrity of the musical compositions. Loren’s voice was dubbed by the illustrious singer Renata Tebaldi.
A noteworthy technical aspect of this film is that it was produced using Ferraniacolor, one of the earliest cinematographic processes for shooting color films in Italy. This occurred at a time when Technicolor had gained immense popularity in the United States, particularly within historical peplums, as exemplified by this film. It holds the distinction of being the first color film adaptation of an opera in Italian cinema. The musical accompaniment for the film was provided by the RAI radio orchestra and choir.
Among the most commendable features of the film are its costumes, with Maria de Matteis playing a pivotal role in this regard. The designer and costume creator initially worked as a salaried employee on significant Italian film productions before transitioning to freelance work on Visconti films, such as Ossessione (1943). Following Aida, she contributed to the adaptation of Tosca (1956).
In regard to the portrayal of Egyptomania, this film integrates Egyptian-inspired sets with additional elements that reflect tribal influences, attributable to Aida's Ethiopian heritage. The film is abundant in clichés and stereotypical representations of Ethiopian culture. Furthermore, it utilizes the grand facilities of the Cinecittà studios for its representation of Egyptian interiors and architecture, which were previously employed in some of the most significant peplum films of their era.
Regarding the quality of the production, expert Bernhard Kuhn noted that the film exemplifies intermediality, positioning itself within a hybrid space between cinema and opera. Through this creative endeavor, director Clemente Fracassi successfully captures specific operatic characteristics on film, thereby enhancing the artistic depth of his adaptation.

Author: Guillermo Juberías Gracia