A successful performance of Verdi\u2019s \u201cIl Trovatore\u201d is relatively easy, according to Enrico Caruso. All that is needed are the four greatest singers in the world.<\/p>\n
And Caruso was not really joking as that is exactly what the second installment of Verdi\u2019s middle-period trilogy truly requires.<\/p>\n
\u201cIl Trovatore\u201d first premiered on Jan. 19, 1853 and has been a major operatic staple since. The work is so lush with melody that all of the world\u2019s greatest singers have attempted one of the four major roles that are the foundation for the work.<\/p>\n
Interestingly, \u201cIl Trovatore\u201d has also drawn much attention for its quick-fire libretto that jumps quickly through time, much of the major drama taking place off-stage.<\/p>\n
Short Plot Summary<\/strong><\/p>\n Ferrando relates the story of the dying count who once found a gypsy in her infant child\u2019s bedroom. He had her burned at the stake. Out of vengeance, the gypsy\u2019s daughter stole the Count\u2019s other child. His bones were found burned, but the Count never believed his son to be dead.<\/p>\n In an ensuing scene the Conte di Luna, the son of the Count referenced in Ferrando\u2019s story, seeks out his beloved Leonora though she is in love with the troubadour Manrico. Manrico sings to her and shows up as the Count tries to force himself on Leonora. They duel.<\/p>\n At the gypsy camp, the gypsy Azucena confesses to her son Manrico that in seeking vengeance for her mother, she stole one of the Count\u2019s children and burned him. But when she saw the burning body, she realized it was her own child, not the Count\u2019s. Manrico realizes that he is not his mother\u2019s son, but she ignores his questioning and instead commands him to murder the Count if he were to encounter him again.<\/p>\n Manrico is told that Leonora believes him dead and rushes off to find her. Leonora is entering a convent but is stopped by the Count, who wants to steal her away. Manrico arrives on the scene with a number of gypsies, inciting an all-out battle while Manrico and Leonora sing of the ecstasy of seeing each other again.<\/p>\n At the Count camp, Di Luna encounters Azucena who has been searching for Manrico. Upon realizing that she is the mother of his rival, he seeks to leverage her capture to his advantage.<\/p>\n Manrico sings of his love to Leonora but upon finding out about his mother\u2019s capture, he rushes off to save her.<\/p>\n Manrico has been imprisoned after his failed attempt to save his mother. Leonora plans to give herself to the Count in exchange for Manrico\u2019s freedom, but poisons herself. The Count agrees to free his rival after possessing his beloved. Leonora tells Manrico to escape, but he realizes the price she paid. He rejects her but then realizes she is dying, as does the Count. Angered by the turn of events, the Count orders Manrico\u2019s immediate execution but not before learning from Azucena that he has just murdered his own brother.<\/p>\n Famous Musical Numbers<\/strong><\/p>\n Where to begin? The entire piece is one famous musical number after another.<\/p>\n Leonora gets a whopping five arias in the entire opera and each one is notable. \u201cTacea La Notte placida\u201d and \u201cDi tale amor\u201d are characterized by ascending vocal lines to emphasize the pleasure of Leonora\u2019s love for Manrico. Meanwhile \u201cD\u2019Amor sull\u2019ali rosee\u201d is the complete opposite, the music filled with descending figures to express her pain and suffering at Manrico\u2019s capture. The famed \u201cMiserere\u201d takes place in the lower range of the soprano, exploring the impending doom before her cabaletta returns to an aspiration quality similar to the first two arias.<\/p>\n Di Luna gets the tender aria \u201cIl balen del suo sorriso\u201d which is counterpointed by Manrico\u2019s passionate \u201cAh si! Ben mio,\u201d both arias showing the men\u2019s distinct love for Leonora. They both get passionate cabalettas thereafter, though Manrico\u2019s \u201cDi Quella pira\u201d is noted for the interpolated high C most tenors add at the climax of the aria.<\/p>\n Azucena gets the famous \u201cStride la vampa,\u201d though her ensuing monologue \u201cCondotta ell\u2019era in ceppi\u201d is impressive in its emotional build and cathartic explosion.<\/p>\n The opera is also rife with ensembles including a famous trio between the three lovers, the duets between Manrico and Azucena, the duet between Leonora and di Luna, and the gypsy chorus \u201cVedi le fosche notte.\u201d<\/p>\n Strangely, there is no love duet for Leonora and Manrico, though they get a brief passage between Manrico\u2019s two famous arias.<\/p>\n Watch and Listen<\/strong><\/p>\n Here is a performance featuring Pl\u00e1cido Domingo, Raina Kabaivanksa, Piero Cappuccilli, and Fiorenza Cossotto.<\/p>\n