"Semiramide" seems to have had its day. Yet, were a soprano and a contralto, capable of doing justice to the rôles of Semiramide and Arsaces, to appear in conjunction in the operatic firmament the opera might be successfully revived, as it was for Patti and Scalchi. The latter, in her prime when she first appeared here, was one of the greatest of contraltos. I think that all, who, like myself, had the good fortune to hear that revival of "Semiramide," still consider the singing by Patti and Scalchi of the duet, "Giorno d'orrore" (Day of horror) the finest example of bel canto it has been their privilege to listen to. For beauty and purity of tone, smoothness of phrasing, elegance, and synchronization of embellishment it has not been equalled here since.
In the first act of the opera is a brilliant aria for Semiramide, "Bel raggio lusinghier" (Bright ray of hope),—the one piece that has kept the opera in the phonograph repertoire.
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Bel raggio lusinghier
A priests' march and chorus, which leads up to the finale of the first act, is accompanied not only by orchestra, but also by full military band on the stage, the first instance of the employment of the latter in Italian opera. The duet, "Giorno d'orrore," is in the second act.
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For many years the overture to "Semiramide" was a favourite at popular concerts. It was admired for the broad, hymnlike air in the introduction, which in the opera becomes an effective chorus,
