Set in the Old Kingdom of Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1871, in a performance conducted by Giovanni Bottesini.

Today the work holds a central place in the operatic canon, receiving performances every year around the world.

[1] Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera.

[3] However, Auguste Mariette, a French Egyptologist, proposed to Khedive Pasha a plot for a celebratory opera set in ancient Egypt.

[3] Because the scenery and costumes were stuck in the French capital during the Siege of Paris (1870–71) of the ongoing Franco-Prussian War, the premiere was delayed and Verdi's Rigoletto was performed instead.

[6] This overture, never used today, was given a rare broadcast performance by Arturo Toscanini and the NBC Symphony Orchestra on 30 March 1940, but was never commercially issued.

The costumes and accessories for the première were designed by Auguste Mariette, who also oversaw the design and construction of the sets, which were made in Paris by the Opéra's scene painters Auguste-Alfred Rubé and Philippe Chaperon (acts 1 and 4) and Édouard Desplechin and Jean-Baptiste Lavastre (acts 2 and 3), and shipped to Cairo.

[8] Although Verdi did not attend the premiere in Cairo, he was most dissatisfied with the fact that the audience consisted of invited dignitaries, politicians and critics, but no members of the general public.

Verdi had also written the role of Aida for the voice of Teresa Stolz, who sang it for the first time at the Milan première.

Verdi had asked her fiancé, Angelo Mariani, to conduct the Cairo première, but he declined, so Giovanni Bottesini filled the gap.

[11] Details of important national and other premières of Aida follow: A complete concert version of the opera was given in New York City in 1949.

Due to the length of the opera, it was divided into two telecasts, preserved on kinescopes, and later released on video by RCA and Testament.

The audio portion of the broadcast, including some remakes in June 1954, was released on LP and CD by RCA Victor.

[24] La Scala mounted a lavish new production of Aida designed by Franco Zeffirelli for the opening night of its 2006/2007 season.

Alagna subsequently made the headlines when he was booed for his rendition of "Celeste Aida" during the second performance, walked off the stage, and was dismissed from the remainder of the run.

Aida, who is also secretly in love with Radamès, is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity.

All present in the temple pray fervently for the victory of Egypt and protection for their warriors ("Nume, custode e vindice"/ Hear us, O guardian deity).

She tries to forget her doubt, entertaining her worried heart with the dance of Moorish slaves (Chorus, Amneris: "Vieni: sul crin ti piovano" / Come bind your flowing tresses).

Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from the Egyptians.

Claiming the reward promised by the King of Egypt, Radamès pleads with him to spare the lives of the prisoners and to set them free.

At Ramfis' suggestion to the King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.

To facilitate their escape, Radamès suggests using a secure route free from the risk of discovery and discloses the location his army plans to attack.

Meanwhile, Amneris and Ramfis leave the temple, spot Radamès in conference with the enemy, and summon the imperial guards.

Amonasro, armed with a dagger, intends to kill Amneris and Ramfis before they can alert the guards, but Radamès disarms him.

He is relieved to know Aida is still alive and hopes she has reached her own country (Amneris, Radamès: "Già i Sacerdoti adunansi" / Already the priests are assembling).

Offstage, Ramfis recites the charges against Radamès and calls on him to defend himself, but he stands mute, and is condemned to death as a traitor.

The characters are seen as anthropomorphic creatures between the fictional kingdoms of Alborea and Petra as the star-crossed lovers must find a way to unify their worlds while facing off against the evil high priest Ramfis.