Most unusually, it dwells on various aspects of words and music that are not in themselves 'markers' of exoticism or Orientalism but that nonetheless here manifestly announce traits of this or that character (or group) and thereby communicate indelible impressions of what Egyptians and Ethiopians supposedly 'are like' (or were like in an earlier era). The present study aims to broaden the discussion. Much of this commentary draws on the same limited selection of data and observations: the exotic style of those few numbers, the opera's plot, and the circumstances of the work's commissioning (by the Khedive of Egypt). Others argue that exotic style is mostly confined to female, hence powerless, characters. ![]() ![]() ![]() Various commentators on Aida express disappointment that the music for the opera's main characters is not more distinctive, i.e., does not make much use of the exotic styles that mark the work's ceremonial scenes and ballets.
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