with a spirited appeal by Silva and Ernani for vengeance against the
King ("In arcione, cavalieri") which is met by a stirring response
from their followers ("Pronti vedi li tuoi cavalieri"), sung by full
male chorus and closing the act.

The third act is devoted to the conspiracy, and in the second scene
Don Carlos has a very impressive and at times thrilling soliloquy
("Gran Dio! costo sui sepolcrali marmi"). The conspiracy then begins
with very characteristic accompaniments, closing with the chorus in
full harmony ("Si ridesti il Leon di Castiglia"), which at the
performance of the work in Venice roused such a fury among the
Venetians. The finale commences with the appearance of Don Carlos
among the conspirators, and closes with the great sextet and chorus,
"O Sommo Carlo." Opening with a barytone solo, it is gradually worked
up in a crescendo of great power and thrilling effect. The number is
very familiar from its English setting under the title, "Crowned with
the Tempest."

The fourth act rapidly hurries to the tragic close, and is less
interesting from a musical point of view, as the climax was reached in
the finale of the third. The principal numbers are the chorus of masks
in the first scene ("O come felici"), accompanied by military band,
and the great duet between Elvira and Ernani ("Cessaro i suoni"),
which passes from rapturous ecstasy to the despair of fate ("Per noi
d' amore il talamo") as the horn of Silva is heard, reminding Ernani
of his promise. Though one of the earliest of Verdi's works, "Ernani"
is one of his strongest in dramatic intensity, in the brilliancy and
power of its concerted finales, and in the beauty of its great chorus
effects.

RIGOLETTO.

"Rigoletto," an opera in three acts, words by Piave, the subject taken
from Victor Hugo's tragedy, "Le Roi s'amuse," was first produced at
Venice, March 11, 1851. The part of Gilda has always been a favorite
one with great artists, among whom Nantier-Didiee, Bosio, and
Miolan-Carvalho played the role with extraordinary success. In the
London season of 1860 Mario and Ronconi in the respective parts of the
Duke and Rigoletto, it is said, gave dramatic portraitures which were
among the most consummate achievements of the lyric stage. The records
of its first production, like those of "Ernani," are of unusual
interest. Verdi himself suggested Victor Hugo's tragedy to Piave for a
libretto, and he soon prepared one, changing the original title,
ho