pretending that Rhadames has been killed; and
the truth is still further revealed when Rhadames pleads with the King
to spare the lives of the captives. The latter agrees to release all
but Aida and Amonasro, bestows the hand of Amneris upon the unwilling
conqueror, and the act closes amid general jubilation. Acting upon
Amonasro's admonitions, Aida influences Rhadames to fly from Egypt and
espouse the cause of her father. The lovers are overheard by Amneris
and Ramfis, the high priest. The Princess, with all the fury of a
woman scorned, denounces Rhadames as a traitor. He is tried for
treason and condemned to be buried alive in the vaults under the
temple of the god Phtah. Pardon is offered him if he will accept the
hand of Amneris, but he refuses and descends to the tomb, where he
finds Aida awaiting him. The stones are sealed above them and the
lovers are united in death, while Amneris, heart-broken over the
tragedy her jealousy has caused, kneels in prayer before their
sepulchre.

After a short prelude, consisting of a beautiful pianissimo movement,
mainly for the violins, and very Wagnerish in its general style, the
first act opens in a hall of the King's palace at Memphis. A short
dialogue between Rhadames and the priest Ramfis leads to a delicious
romanza ("Celeste Aida") which is entirely fresh and original,
recalling nothing that appears in any of Verdi's previous works. It is
followed by a strong declamatory duet between Rhadames and Amneris,
which upon the appearance of Aida develops to a trio ("Vieni, o
diletta"). In the next scene the King and his retinue of ministers,
priests, and warriors enter, and a majestic ensemble occurs, beginning
with a martial chorus ("Su! del Nilo") in response to the appeal of
the priests. As the war chorus dies away and the retinue disappears,
Aida has a scena of great power. It begins with a lament for her
country ("Ritorna vincitor"), in passionate declamatory phrases,
clearly showing the influence of Wagner; but in its smooth, flowing
cantabile in the finale, "Numi pieta," Verdi returns to the Italian
style again. The final scene is full of oriental color and barbaric
richness of display. The consecrated arms are delivered to Rhadames.
The priestesses behind the scene to the accompaniment of harps, and
the priests in front with sonorous chant, invoke the aid of the god
Phtah, while other priestesses execute the sacred dance. An impressive
duet between Ramfis and Rhadames cl