The second act opens upon a moonlight scene on the spot where murderers are punished; and Amelia, searching for the magic herb, sings a long dramatic aria ("Ma dall arido”) consisting of abrupt and broken measures, the orchestra filling the gaps with characteristic accompaniment.  Richard appears upon the scene, and the passionate love-duet follows, “M’ami, m’ami.”  The interview is ended by the sudden appearance of Reinhart, who warns the Governor of his danger, the scene taking the form of a spirited trio ("Odi tu come").  A buffo trio closes the act, Sam and Tom supplying the humorous element with their laughing refrain.

The last act opens in Reinhart’s house with a passionate scene between the Secretary and his wife, containing two strong numbers, a minor andante ("Morro, ma prima in grazia”) for Amelia, and an aria for Reinhart ("O dolcezzo perdute"), which for originality and true artistic power is worthy of being classed as an inspiration.  The conspiracy music then begins, and leads to the ball scene, which is most brilliantly worked up with orchestra, military band, and stringed quartet behind the scenes supplying the dance-music, and the accompaniment to the tragical conspiracy, in the midst of which, like a bright sunbeam, comes the page’s bewitching song, “Saper vorreste.”  The opera closes with the death of Richard, set to a very dramatic accompaniment.  “The Masked Ball” was the last work Verdi wrote for the Italian stage, and though uneven in its general effect, it contains some of his most original and striking numbers,—­particularly those allotted to the page and Reinhart.  In the intensity of the music and the strength of the situations it is superior even to “Trovatore,” as the composer makes his effects more legitimately.

AIDA.

“Aida,” an opera in four acts, was first produced at Cairo, Egypt, Dec. 27, 1871, and was written upon a commission from the Khedive of that country.  The subject of the opera was taken from a sketch, originally written in prose, by the director of the Museum at Boulak, which was afterwards rendered into French verse by M. Camille de Locle, and translated thence into Italian for Verdi by Sig.  A. Ghizlandoni.  It is the last opera Verdi has composed, and is notable for his departure from the conventional Italian forms and the partial surrender he has made to the constantly increasing influence of the so-called music of the future.  The subject is entirely Egyptian, and the music is full of Oriental color.

The action of the opera passes in Memphis and Thebes, and the period is in the time of the Pharaohs.  Aida, the heroine, is a slave, daughter of Amonasro, the King of Ethiopia, and at the opening of the opera is in captivity among the Egyptians.  A secret attachment exists between herself and Rhadames, a young Egyptian warrior, who is also loved by Amneris, daughter of the sovereign of Egypt.  The latter suspects that she has a rival, but does not discover