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 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.
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 Müller, 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).
"Othello," the last of the long and brilliant series of Verdi's operas, was completed in 1886, and first produced at the La Scala Theatre, Milan, Feb. 5,
1887, with remarkable success, Signora Pantaleoni, Signors Maurel and Tamagno taking the three leading rôles. The libretto was prepared by the accomplished Italian scholar and musician, Arrigo Boito, and closely follows the story of the Shakspearian tragedy.