her until Rhadames returns victorious from an expedition against the rebellious Amonasro, who is brought back a prisoner.  The second act opens with a scene between Amneris and Aida, in which the Princess wrests the secret from the slave by 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 closes 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.