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.