The standard operas, their plots and their music; . r another ensemble, with mas-sive choruses, a stirring march and ballet, heralding the vic-tory of Rhadames. A solemn, plaintive strain runs throughthe general jubilation in the appeal of Amonasro ( Questaassisa ch io vesto ) to the King for mercy to the finale begins with the remonstrances of the priests andpeople against the appeals of Amonasro and Rhadames, andcloses with a dramatic concerted number, — a quintet setoff against the successive choruses of the priests, prisoners,and people ( Gloria all Egitto ). The third act, li
The standard operas, their plots and their music; . r another ensemble, with mas-sive choruses, a stirring march and ballet, heralding the vic-tory of Rhadames. A solemn, plaintive strain runs throughthe general jubilation in the appeal of Amonasro ( Questaassisa ch io vesto ) to the King for mercy to the finale begins with the remonstrances of the priests andpeople against the appeals of Amonasro and Rhadames, andcloses with a dramatic concerted number, — a quintet setoff against the successive choruses of the priests, prisoners,and people ( Gloria all Egitto ). The third act, like the first, after a brief dialogue, openswith a lovely romanza ( O Cieli azzurri), sung by Aida,and the remainder of the act is devoted to two duets, — thefirst between Amonasro and Aida, and the second betweenRhadames and Aida. They are revelations in the directionof combining the poetic and musical elements, when comparedwith any of the duets in Verdis previous operas. In the lastact the first scene contains another impressive duet between. ..-yp-.,^— Marie Brema as A?/iiierts VERDI 325 Rhadaraes and Amneris ( Chi ti salva, o Sciagurato ), end-ing with the desjDairing song of Amneris (Ohime! morirmi sento ). In the last scene the stage is divided into twoparts. The upper represents the temple of Vulcan, or Phtah,crowded with priests and priestesses, chanting as the stone isclosed over the subterranean entrance, while below, in thetomb, Aida and Rhadames sing their dying duet ( O Terra,addio ), its strains blending with the jubilation of the priestsand the measures of the priestesses sacred dance. Aida is unquestionably the greatest, if not the most popular, ofVerdis works. It marks a long step from the style of hisother operas towards the production of dramatic effect bylegitimate musical means, and shows the strong influenceWagner had upon him. Othello Othello, opera in four acts, text by Boito, after theShakesperean tragedy, first produced at La Scala Theatre,Milan,
Size: 1305px × 1915px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorupt, bookcentury1900, bookdecade1910, booksubjectoperas
