d his ghost appears
and announces that Arsaces will be the successor to the crown. At
midnight Semiramis, Assur, and Arsaces meet at the tomb, and by
mistake Assur stabs her instead of Arsaces, who in turn kills Assur,
and, all obstacles being removed, is united to Azema and ascends the
throne.

An introductory chorus of Babylonians and a terzetto by Idreno, Assur,
and Oroe open the opera and lead up to the first appearance of
Semiramis, which is followed by a very dramatic quartet ("Di tanti
regi"). In the fourth scene Arsaces has a very brilliant aria ("O!
come da quel di"), which also did service in one or two of Rossini's
other operas, and is followed by a very animated duet ("Bella imago
degli dei") between himself and Assur. The eighth scene is introduced
by a graceful female chorus which leads to Semiramis's brilliant and
well-known aria, "Bel raggio." In the tenth scene occurs an elegant
duet ("Serbami agnor si fido"), followed in the next scene by a
stately priests' march and chorus ("Ergi omai la fronte altera"), set
to ecclesiastical harmony and accompanied by full military band as
well as orchestra, this being the first instance where a military band
was used in Italian opera. It leads to the finale, where Semiramis on
her throne announces to her people her choice for their future king.
The oath of allegiance follows in an impressive quartet with chorus
("Giuro al numi"), and a defiant aria by the Queen leads to the sudden
appearance of the ghost of Ninus, accompanied by characteristic music
repeated in quintet with chorus. As the ghost speaks, the statue scene
in Don Giovanni is inevitably recalled, especially in some phrases
which are literally copied.

The second act opens with a vindictively passionate duet ("Assur,
icenni mici") between Assur and Semiramis, closing with a fierce
outburst of hatred ("La forza primiera"). The scene is a very long and
spirited one, and is followed by a second chorus of priests, leading
to a great aria with chorus ("Ah! tu gelar mi fai") for Arsaces. In
the fifth scene occurs a long duet between Arsaces and Semiramis, the
second part of which ("Giorno d'orrore") is the strongest number in
the opera. Though intensely passionate in its tone, the music is
smooth and flowing and very florid for both voices. The seventh scene
is composed of a scena, aria and chorus, followed by still another
chorus in the mausoleum. Semiramis sings a prayer of great pathos and
beauty ("Ah mio