The critics of the day at once accused Verdi of imitating
Wagner, and certain passages undoubtedly suggest the influence of
'Lohengrin,' but as a whole the score is thoroughly and radically
Italian. In 'Aida' Verdi's vein of melody is as rich as ever, but it is
controlled by a keen artistic sense, which had never had full play
before. 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.
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