Abstract
Abstract After a brief introduction on the connection between 19th-century opera and Risorgimento, the essay discusses the female role in some of Verdi's operas. In particular, it examines the intersection of the body politics discourse, where woman functions as allegory of the country - a popular topos - with the connected theme of daughter/father relation. Aida will be the central and final opera discussed since it presents the best example of the intersection of the body politics and patriarchy discourses. Love and respect for the fatherland are here identified with love and obedience to the father and their success must be obtained at the cost of personal happiness. Aida cannot have both Radamès and save her country, and the choice she must make is obvious. The essay will conclude with a few comments on the special power of the female voice, here displayed by Aida as well as Amneris.
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