The second act, like the first, opens with a chorus, this time, however, of mixed voices, the power of which is amplified by a military band on the stage.  After three scenes of dramatic dialogue, an impassioned duet ("Ah! morir potessi adesso!”) occurs between Ernani and Elvira, followed by a second, of great dramatic intensity, in the seventh scene ("La vendetta piu tremenda").  The finale begins 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, however, to “La Maledizione.”  Warned by the political events