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 had upon him.  Since this work was produced, no other for the stage has come from his pen.  Should he break his long silence, some new work may show that he has gone still farther in the new path.  If the time for rest has come, however, to the aged composer, “Aida” will remain his masterpiece among musicians and connoisseurs, though “Trovatore” will be best loved by the people.

OTHELLO.

Othello has formed the subject of the following compositions: 
“Otello,” opera in 3 acts, text by Berio, music by Rossini (1816);
“Othelleri,” parody by Mueller, Vienna (1828); Othello, overture by
Krug (1883); “Un Othello,” operetta, by Legoux, Paris (1863); and
“Othello,” opera in 4 acts, text by Boito, music by Verdi (1886).