For the first time in his career he discovered the true balance
between singers and orchestra, and at once took his proper place among
the great musicians of the world. Special attention must be directed to
Verdi's use of local colour in 'Aida.' This is often a dangerous
stumbling-block to musicians, but Verdi triumphed most where all the
world had failed. In the scene of the consecration of Radames, he
employs two genuine Oriental tunes with such consummate art that this
scene is not only one of the few instances in the history of opera in
which Oriental colour has been successfully employed, but, in the
opinion of many, is the most beautiful part of the whole opera. Another
magnificent scene is the judgment of Radames, in the fourth act, where
an extraordinary effect is gained by the contrast of the solemn voices
of the priests within the chamber with the passionate grief of Amneris
upon the threshold. The love scene, in the third act, shows the lyrical
side of Verdi's genius in its most voluptuous aspect. The picture of the
palm-clad island of Philae and the dreaming bosom of the Nile is
divinely mirrored in Verdi's score. The music seems to be steeped in the
odorous charm of the warm southern night.

Sixteen years elapsed before the appearance of Verdi's next work. It was
generally supposed that the aged composer had bidden farewell for ever
to the turmoil and excitement of the theatre, and the interest excited
by the announcement of a new opera from his pen was proportionately
keen. The libretto of 'Otello' (1887), a masterly condensation of
Shakespeare's tragedy, was from the pen of Arrigo Boito, himself a
musician of no ordinary accomplishment. The action of the opera opens in
Cyprus, amidst the fury of a tempest. Othello arrives fresh from a
victory over the Turks, and is greeted enthusiastically by the people,
who light a bonfire in his honour. Then follows the drinking scene.
Cassio, plied by Iago, becomes intoxicated and fights with Montano. The
duel is interrupted by the entrance of Othello, who degrades Cassio
from his captaincy, and dismisses the people to their homes. The act
ends with a duet of flawless loveliness between Othello and Desdemona,
the words of which are ingeniously transplanted from Othello's great
speech before the Senate. In the second act Iago advises Cassio to
induce Desdemona to intercede for him, and, when left alone, pours forth
a terrible confession of his unfaith in the famous 'Cre