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Trope was cut/disambiguated due to cleanup
* InconsistentSpelling: In the early 20th century, English-language programs spelled Aida as "Aïda," Radamès as "Rhadames," and Ramfis as "Ramphis."
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* SpellMyNameWithAnS: In the early 20th century, English-language programs spelled Aida as "Aïda," Radamès as "Rhadames," and Ramfis as "Ramphis."
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* {{Leitmotif}}: The prelude introduces two motifs that reoccur several times in the opera: Aida's [[InnocentSoprano innocent-sounding]] theme, and a gloomy motif for [[SinisterMinister the priests]] who will end up crushing her and her lover.
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* {{Leitmotif}}: The prelude introduces two motifs that reoccur several times in the opera: Aida's [[InnocentSoprano innocent-sounding]] theme, and a gloomy grim motif for [[SinisterMinister the priests]] who will end up crushing her and her lover.
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* {{Leitmotif}}: The prelude introduces two motifs that reoccur several times in the opera: Aida's [[InnocentSoprano innocent-sounding]] theme, and a gloomy motif for [[SinisterMinister the priests]] who will end up crushing her and her lover.
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* ConflictingLoyalty: As Radames leads to troops off to do battle with the troops of Ethiopia, led by King Amonasro (Aida's own father), Aida is distraught; if Ramedes wins, she could lose her father, while if her father wins then Rademes dies. In "Ritorna vincitor!", she begs the gods for mercy in this agonizing choice.
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* SadisticChoice: Played with. As Radames leads the troops off to do battle with the troops of Ethiopia, led by King Amonasro (Aida's own father), Aida is distraught since she is torn between her love for her father and homeland and her love for Radames. In "Ritorna vincitor!", she begs the gods for mercy in this agonizing choice.
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Added DiffLines:
* ConflictingLoyalty: As Radames leads to troops off to do battle with the troops of Ethiopia, led by King Amonasro (Aida's own father), Aida is distraught; if Ramedes wins, she could lose her father, while if her father wins then Rademes dies. In "Ritorna vincitor!", she begs the gods for mercy in this agonizing choice.
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* InnocentSoprano: Aida has shades of this, since she is a good-hearted character sung by a soprano, but she is performed by a spinto soprano (light heavyweight) or dramatic soprano (heavyweight), neither of which sound "girlish" but powerful and heavy with emotion, more suited for a damsel in distress. Considering that she is a princess kidnapped and enslaved in a hostile land, she has a good reason for highly emotional scenes.
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* InnocentSoprano: Aida has shades of this, since she is a good-hearted character sung by a soprano, but she is performed by a spinto soprano (light heavyweight) or dramatic soprano (heavyweight), neither of which sound "girlish" but powerful and heavy with emotion, more suited for a damsel in distress. Considering that she is a princess kidnapped and enslaved in a hostile land, distress, since she has a good reason for highly emotional scenes.endured too much to be innocent or naïve.
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* AbusiveParents: Amonasro's method of persuading Aida to get Radames to betray his strategy, namely savagely ranting that Ethiopia would otherwise die if Aida does not do so, comes across as emotional abuse.
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* AbusiveParents: Amonasro's method of persuading Aida to get Radames to betray his strategy, namely savagely ranting that Ethiopia (including Aida's family and friends) would otherwise die if Aida does not do so, comes across as emotional abuse.abuse. She reluctantly agrees.
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* InnocentSoprano: Aida has shades of this, since she is a good-hearted character sung by a soprano, but she is performed by a spinto soprano (light heavyweight) or dramatic soprano (heavyweight), neither of which sound "girlish" but powerful and heavy with emotion, more suited for a damsel in distress. Considering that she is a princess kidnapped and enslaved in a hostile land, she has a good reason for highly emotional scenes.
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* TheInnocentSoprano: Aida has shades of this, since she is a good-hearted character sung by a soprano, but she is performed by a spinto soprano (light heavyweight) or dramatic soprano (heavyweight), neither of which sound "girlish" but powerful and heavy with emotion, more suited for a damsel in distress. Considering that she is a princess kidnapped and enslaved in a hostile land, she has a good reason for highly emotional scenes.
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* TheSoprano: Aida is a good-hearted character sung by a soprano, but she is performed by a spinto soprano (light heavyweight) or dramatic soprano (heavyweight), neither of which sound "girlish" but powerful and heavy with emotion. Considering that she is a princess kidnapped and enslaved in a hostile land, she has a good reason for highly emotional scenes.
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* TheSoprano: TheInnocentSoprano: Aida has shades of this, since she is a good-hearted character sung by a soprano, but she is performed by a spinto soprano (light heavyweight) or dramatic soprano (heavyweight), neither of which sound "girlish" but powerful and heavy with emotion.emotion, more suited for a damsel in distress. Considering that she is a princess kidnapped and enslaved in a hostile land, she has a good reason for highly emotional scenes.
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* TheSoprano: Aida is a good-hearted character sung by a soprano, but she is performed by a spinto soprano (light heavyweight) or dramatic soprano (heavyweight), neither of which sound "girlish" but powerful and heavy with emotion. Considering that she is a princess kidnapped and enslaved in a hostile land, she has a good reason for highly emotional scenes.
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* AncientAfrica: Aida is a princess from the Kingdom of Ethiopia, which is at war with Ancient Egypt.
