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