Auguste Mariette “Pasha,” a French archaeologist and director of Egyptian antiquities at the time, wrote a letter to his brother Edwar five months before the opening of the Suez Canal. It contained in a book entitled “Letters and Personal Memories” published in Paris in 1904, saying: “Imagine that I wrote Oprah! … It’s a big opera that Verdi will put on her music, yes, don’t laugh. It’s true, “said Edward.

The French writer and historian Robert Solet, in his book “Egypt is a French fondness” that many did not stop assigning the text of the opera Aida to the authors of various, if not Khedive Ismail, personally the author of its initiative. It is now proven that this work belongs to Mariette, who wrote the script and designed clothes. The decorations will display as well as outline the output of the artwork.

The opera «Aida,» which first shown in the Egyptian Opera House in 1871, one of the most famous musical works of the Italian «Jossini Verdi,» was received by the European countries unprecedented reception after its presentation in Egypt. It reached the admiration of the public that was invited «Verdi» to the theater Thirty-two times, in one of the shows, the municipality of Milan gave him a scepter of ivory and a medal in the form of a star made of diamonds.

The story takes place in Luxor and the Temple of Hatshepsut, each with its specificity and charm.


Luxor is the name of the ancient city of Thebes, the incredible capital of (Upper) Egypt during the New Kingdom, and the great city of Amun, later to turn into the god Amun-Ra. 

The significance of the city began as ahead of schedule as the eleventh Dynasty, when the town developed to a flourishing city. Montuhotep II, who joined Egypt after the issues of the primary middle of the road time frame, carried dependability to the terrains as the city developed in stature. Thebes assumed a significant job in ousting the attacking powers of the Hyksos from Upper Egypt, and from the hour of the eighteenth Dynasty to the twentieth Dynasty, the city had ascended as the political, strict, and military capital of Ancient Egypt. 

As the city of the god Amun-Ra, Thebes remained the strict capital of Egypt until the Greek time frame. The fundamental divine force of the city was Amun. His incredible sanctuary, at Karnak only north of Thebes, was the most significant sanctuary of Egypt directly until the finish of ancient history. 

Nonetheless, Alexander the Great arrived at the sanctuary of Amun, where the statue of the god moved from Karnak during the Opet Festival, the extraordinary strict gala. Thebes stayed a site of otherworldliness up to the Christian period. It pulled in various Christian priests in the Roman Empire who set up cloisters in the midst of a few antiquated landmarks, including the sanctuary of Hatshepsut, presently called “the northern religious community.”

Temple of Hatshepsut

The point of convergence of the Deir el-Bahari complex is the Mortuary Temple of Hatshepsut. It is a colonnaded structure, which was planned and executed by Senenmut, illustrious steward and planner of Hatshepsut, to serve for her after death venerates and to respect the greatness of Amun. 

The sanctuary sits on a progression of colonnaded porches, came to by long inclines that used to grace with gardens. It is incorporated with a precipice face that ascents forcefully above it and generally viewed as one of the “exceptional landmarks of antiquated Egypt.” It is 30 m tall. 

The layering of Hatshepsut’s sanctuary relates to the traditional Theban structure, the help form inside Hatshepsut’s sanctuary recounts the story of the perfect birth of the pharaoh. The content and pictorial cycle likewise recount an undertaking to the Land of Punt, an outlandish nation on the Red Sea coast. 

The sanctuary incorporates a picture of Hatshepsut portrayed as a male pharaoh offering contributions to Horus. To one side, a creature skin twisted around a tall staff that is an image of the god Osiris. 

The sanctuary used to be home to two statues of Osiris, a long road lined by sphinxes, just as numerous figures of pharaoh Hatshepsut in various frames of mind – standing, sitting, or bowing.