oses the act. In this finale, Verdi
has utilized two native Egyptian themes,--the melody sung by the
priestesses with the harps, and the dance-melody given out by the
flutes.

The second act opens with a female chorus by the slave girls, the
rhythm of which is in keeping with the oriental scene, followed by an
impassioned duet between Amneris and Aida ("Alla pompa che si
appresta"), through which are heard the martial strains of the
returning conqueror. The second scene opens the way for another
ensemble, which with its massive choruses, and its stirring march and
ballet, heralding the victory of Rhadames, is one of the most
picturesque stage scenes the opera has ever furnished. A solemn,
plaintive strain runs through the general jubilation in the appeal of
Amonasro ("Questo assisa ch' io vesto") to the King for mercy to the
captives. The finale begins with the remonstrances of the priests and
people against the appeals of Amonasro and Rhadames, and closes with
an intensely dramatic concerted number,--a quintet set off against the
successive choruses of the priests, prisoners, and people ("Gloria
all' Egitto").

The third act, like the first, after a brief dialogue, opens with a
lovely romanza ("O cieli azzuri") sung by Aida, and the remainder of
the act is devoted to two duets,--the first between Amonasro and Aida,
and the second between Rhadames and Aida. Each is very dramatic in
style and passionate in declamation, while they are revelations in the
direction of combining the poetic and musical elements, when compared
with any of the duets in Verdi's previous operas. In the last act the
first scene contains another impressive duet between Rhadames and
Amneris ("Chi ti salva, o sciagurato"), ending with the despairing
song of Amneris, "Ohime! morir mi sento." In the last scene the stage
is divided into two parts. The upper represents the temple of Vulcan,
or Phtah, crowded with priests and priestesses, chanting as the stone
is closed over the subterranean entrance, while below, in the tomb,
Aida and Rhadames sing their dying duet ("O terra, addio"), its
strains blending with the jubilation of the priests and the measures
of the priestesses' sacred dance. "Aida" is the last and
unquestionably the greatest, if not the most popular, of Verdi's
works. It marks a long step from the style of his other operas towards
the production of dramatic effect by legitimate musical means, and
shows the strong influence Wagner has ha