A close study of the plot shows it to be neither strictly logical nor consistent; at the same time the book abounds with striking and sensational situations, appreciated alike by musicians and dramatists.
That empress of song, Madame Patti, created the principal character in _Aïda_ when it was first given in this country on the 23rd June 1876. The other principal singers were Mdlle. Ernestina Gindale (Amnéris), Signori Nicolini (Radamès), Graziani (Amonasro), Capponi (Ramfis), and M. Feitlinger (King of Egypt). As every frequenter of the opera who can recall that eventful night will remember, it was a brilliant night. The Royal box was fully tenanted, including the Prince and Princess of Wales, with the Princes Albert Ernest and George Frederick. The cantatrice thrilled the audience by the purity and tenderness of her singing, notably in her delivery of Aïda's agonised soliloquy in the third act. In no previous part had she shown greater powers, and the assumption of the part placed her in the front rank of lyric _tragédiennes_. On all sides it was admitted that Verdi had achieved a great and unexampled success. The main topic was the new order of Verdi's music in _Aïda_, of which more in another chapter.