Giuseppe Verdi’s Aida is a masterpiece of opera that tells a story of war, love, and betrayal set in the grandeur of ancient Egypt.
Commissioned for the Royal Opera House in Cairo in 1871, Aida explores the personal struggles of its central characters against the backdrop of a violent conflict between Egypt and Ethiopia. At its core, the opera examines the tension between loyalty to one’s homeland and devotion to personal relationships, a theme that remains deeply relevant in discussions of modern international law. In Aida, Egypt and Ethiopia are engaged in a war that results in the capture of Ethiopian prisoners, including Aida, the daughter of the Ethiopian king Amonasro. Her identity remains hidden as she serves as a handmaiden to Amneris, the Egyptian princess, who is unaware of her true lineage. Aida’s love for Radamès, the Egyptian military commander, is complicated not only by their opposing nationalities but also by Amneris’s own affections for him. When Radamès returns victorious from battle, he unwittingly becomes entangled in political intrigue, as his personal decisions have direct consequences for the fates of both Egypt and Ethiopia.
The themes of state sovereignty and the legality of war are central to the opera’s dramatic conflict. Under modern international law, the UN Charter prohibits the use of force except in self-defense or with Security Council authorization. Yet, in Aida, war is waged as an assertion of power, without diplomatic resolution or negotiation. The Egyptian ruler, much like sovereigns of the past, acts unilaterally in engaging in warfare, demonstrating the absence of legal checks that characterize today’s international system. The question of whether Egypt’s war against Ethiopia is justifiable under the principles of jus ad bellum—the laws governing the justification of war—remains unresolved in the opera’s narrative, much as wars in history have often lacked clear moral or legal foundations.
One of the most striking moments in Aida is the treatment of prisoners of war, an issue that resonates with contemporary international legal standards. Radamès, hailed as Egypt’s hero, brings back Ethiopian captives, among whom is Amonasro, Aida’s father, disguised among his people. The Egyptian priests demand their execution, a clear violation of what would now be considered customary international humanitarian law. Today, the Third Geneva Convention strictly regulates the treatment of prisoners of war, prohibiting collective punishment and ensuring that captives are protected from summary execution. The fate of these prisoners in Aida underscores how, in times of war, the humanity of the enemy is often disregarded, a reality that international law has sought to rectify.
Beyond the battlefield, the opera raises ethical questions about coercion, betrayal, and espionage. Aida is forced into an impossible dilemma when her father pressures her to extract Egyptian military secrets from Radamès. This moment highlights the darker aspects of war, where individuals become pawns in broader political struggles. The use of coercion to obtain military intelligence—while common in wartime—is legally and morally complex. Modern international law recognizes espionage as a gray area, not explicitly prohibited but often punished when agents are captured. However, the forced involvement of civilians, particularly through emotional manipulation, presents a clear violation of fundamental human rights. Aida’s suffering mirrors the plight of countless individuals throughout history who have been coerced into betraying those they love due to the pressures of war. The opera also brings attention to the role of cultural heritage in times of conflict. Commissioned by the Egyptian ruler Isma’il Pasha to celebrate Egypt’s history, Aida itself is an example of how culture is used as a tool of political identity and soft power. In modern international law, the protection of cultural heritage during armed conflict is enshrined in the 1954 Hague Convention, which seeks to prevent the destruction of historical and artistic treasures. The grandeur of ancient Egypt, depicted in Aida, serves as a reminder that war is not only a clash of armies but also a threat to the cultural and historical legacies that define civilizations. The destruction of cultural heritage in wartime, whether through looting or deliberate attacks on historical sites, is now recognized as a war crime under international law.
Gender and human rights concerns are also central to Aida, particularly in the way female characters are treated. Aida, though a princess by birth, is reduced to the status of a slave, her fate dictated by the men around her. Amneris, despite her royal status, is similarly subject to the expectations of marriage and political alliances. The forced betrothal of Radamès to Amneris is reflective of historical practices where women were used as instruments of political strategy, a practice that continues in certain parts of the world. Modern international human rights law, including conventions such as the Universal Declaration of Human Rights and the Convention on the Elimination of All Forms of Discrimination Against Women, recognizes the right to autonomy and the freedom to choose one’s own relationships. In Aida, the tragic fate of both women illustrates how patriarchal structures—often reinforced in times of war—limit their agency, a reality that international legal frameworks now seek to dismantle.
The final moments of Aida are steeped in tragedy. Radamès, accused of treason for revealing military secrets, refuses to renounce his love for Aida, choosing death over dishonor. His fate is sealed when he is sentenced to be entombed alive, unaware that Aida has already hidden herself in the tomb to die alongside him. Their sacrifice underscores the ultimate cost of war—not only in terms of political victories or losses but in the destruction of individual lives and dreams. The opera’s conclusion serves as a stark reminder that beneath the grand narratives of state conflict lie deeply personal tragedies, a lesson that continues to hold relevance in the realm of international relations and law.
Verdi’s Aida may be a work of fiction, but its exploration of war, sovereignty, justice, and human rights speaks directly to the challenges that persist in contemporary international law. The opera reveals how personal and political conflicts are often inseparable, with individuals caught in the crossfire of national interests. As international law continues to evolve, the lessons of Aida remain a poignant reminder of the need for diplomacy, the humane treatment of prisoners, the protection of cultural heritage, and the recognition of individual rights even in times of war. Behind every conflict are human lives, love stories, and tragedies that demand legal and moral consideration, making Aida not just a timeless artistic achievement but also a powerful reflection on the laws and ethics of war.
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