Giuseppe Verdi (1813-1901) wrote his “Aida” at a politically highly explosive time: Germany and France were on the brink of war (Franco-Prussian War 1870/71), which is why the premiere could not take place until a year later after the scheduled date: Because both the stage sets and the costumes were stuck in the Prussian occupied Paris. The opera had been commissioned by the Egyptian Viceroy Ismail Pasha. However, not, as often wrongly assumed, for the inauguration of the Suez Canal, but for the opening of the new opera house in Cairo in 1871.Aida shows the versatility of this exceptional Italian composer in its entirety: large-scale mass scenes and choruses are juxtaposed with equally intimate, chamber-play-like scenes that reveal a soul drama that is ingenious in every detail. In this respect, the work can certainly be interpreted as a turning point in Verdi’s oeuvre, as it not only focuses on the vocal parts, but also assigns a new and leading role to the orchestra.Verdi received the 150,000 gold francs demanded for his composition, probably the highest honorarium granted to a composer to date. In addition, he demanded his own trumpets for the famous Triumphal March, the so-called Aida trumpets, which had to be commissioned as a special production. Today "Aida" is one of the most successful of the great operas of the 19th century.

With the disturbing story of the lust-murdering "Salome," Richard Strauss (1864-1949) achieved his breakthrough as an opera composer in 1905. Based on Oscar Wilde’s play of the same name, Strauss created a one-act musical drama full of avant-garde features with partially suspended tonality, leitmotif technique and an orchestra of over 100 musicians.It is about the beautiful princess Salome, who lives in the palace of her perfidious stepfather Herod. Herod would like to see the young Salome take her place at his side instead of his wife and Salome’s mother, Herodias. Salome, however, evades him and becomes aware of the prophet Jochanaan, who is imprisoned in the court dungeon. In order to be able to speak with him, Salome unceremoniously seduces the captain on guard. But Jochanaan does not return Salome’s fascination. On the contrary, he repudiates her, preferring his dungeon to her presence while proclaiming further prophecies that alarm Herod. To distract her, Herod demands that Salome perform an erotic veil dance. Only when Herod promises Salome everything she desires does she agree. When Salome demands Jochanaan’s head on a silver platter after the dance, Herod is dismayed, but he sees himself bound by his promise. Deeply horrified when Salome thereupon lustfully commits suicide on Jochanaan’s corpse, he orders his soldiers in disgust to kill Salome.